A Catalogue of Recent Acquisitions. Spring 2019 by Sanders of Oxford, Antique Prints & Maps

SPRING 2019

A CATALOGUE of RECENT ACQUISITIONS Sanders of Oxford

Antique Prints & Maps

All items are guaranteed to be genuine. A full refund will be given for any item found not to be as described, provided it is returned undamaged within 14 days and any work returned must be sent by registered, prepaid, ďŹ rst class post (airmail overseas) and must be fully insured. All items are in good condition unless otherwise stated. Sizes are given in millimetres. Prices are nett and do not include postage. All orders will be sent by registered mail, by air to overseas customers unless instructed, at the customerâ&#x20AC;&#x2122;s expense. Any importation or customs charges will be the responsibility of the customer. Payment must be made in British Pounds Sterling, either in person or bank transfer (all banking administration and transaction fees to be paid by the customer). We also accept Visa, Mastercard, Switch, and American Express. The title of the goods does not pass to the purchaser until the amount has been paid in full. For full Terms & Conditions please visit: https://www.sandersofoxford.com/terms-conditions/

Spring 2019 A Catalogue of Recent Acquisitions From Monday 15th April 2019

Sanders of Oxford is pleased to present a selection of our most interesting recent acquisitions. Over the past few months we have been busy cataloguing a collection of ďŹ ne and decorative prints spanning a diverse range of subjects, engravers, and prices. All works are available to purchase and will be on display in the gallery.

Sanders of Oxford. Antique Prints & Maps Salutation House 104 High Street Oxford OX1 4BW www.sandersofoxford.com - 01865 242590 - info@sandersofoxford.com Monday - Saturday 10am - 6pm. Sundays 11am - 5pm.

Contents

Pg.

01-05: Japanese Woodblock

06-13: Fine Prints & Old Masters

14-32: Portraits

33-51: General Interest

52-67: Topography

68-80: Caricatures

Biographies: Artists, Printmakers, & Publishers

JAPANESE WOODBLOCK

1. Tea House in the Night Takahashi Hiroaki (Shôtei) 1871-1945 Woodblock (nishiki-e) c.1936 Vertical mitsugiri-ban [~15 x 6 inches] mounted Artist’s seal: Sho Tei Publisher: Watanabe Shôzaburô Takahashi Hiroaki, known as Shôtei, (1871-1945) was born Matsumoto Katsutaro in Mukoyanagiwara, Asakusa, Tokyo on 2nd January, 1871. He was the ﬁrst artist recruited by Shôzaburô Watanabe. Shôtei produced some 500 print designs for Watanabe. When Watanabe’s business was destroyed after the 1923 earthquake, Shôtei redesigned 250 prints.

Additionally, in the 1930s, while still working for Watanabe, Shôtei produced almost 200 print designs for the publisher Shôbidô Tanaka. These included 12 mitsugiri-ban prints with approximately 180 prints in smaller sizes. His work is typical of other shin-hanga artists, focusing on landscapes, dramatic light, and the changing weather and seasons. The popularity of Shôtei’s prints resulted in various other publishers and designers copying his work. Shôtei is said to have been killed by the atomic bomb when he visited his daughter in Hiroshima in August 1945. Condition: Attached to sheet on top margin, some time toning to sheet. [47233] £550

2. Hakone ko no tsuki: Moon at Hakone Lake Takahashi Hiroaki (Shôtei) 1871-1945 Woodblock (nishiki-e) c.1936 Vertical mitsugiri-ban [~15 x 6 inches] mounted Artist’s seal: Sho Tei Publisher: Watanabe Shôzaburô Takahashi Hiroaki, known as Shôtei, (1871-1945) was born Matsumoto Katsutaro in Mukoyanagiwara, Asakusa, Tokyo on 2nd January, 1871. He was the ﬁrst artist recruited by Shôzaburô Watanabe. Shôtei produced some 500 print designs for Watanabe. When Watanabe’s business was destroyed after the 1923 earthquake, Shôtei redesigned 250 prints.

3. Sakura, Ueno Tôshôgû: Cherry Blossoms at the Tôshôgû Shrine in Ueno Shirô Kasamatsu (1898-1991) Woodblock (nishiki-e) 1935 [c.1946 impression] Verical ôban [~14 x 9 inches] mounted Artist Signature: Shiro Publisher: Watanabe Publisher Seal: Round Watanabe 6mm

Shiro Kasamatsu (1898-1991) was a student of Kaburagi Kiyokata. He started creating woodblock prints for the publisher Watanabe in 1919. Until the late 1940s he had designed more than 50 prints for Watanabe. In the 1950s he published bird and animal prints, landscapes and “famous views” with the publisher Unsodo - all together more than 100. Shiro Kasamatsu worked in Shin Hanga and Sosaku Hanga style.

A romantic view of Toshogu Shrine in Ueno through a window of intense pink and purple cherry blossoms.

Condition: Two small pin holes to left margin, some time toning to sheet. [47232] £700

4. [A Scene of Sino-Japan War] [Anonymous] Woodblock (nishiki-e) c.1894 Vertical ôban triptych; each sheet 37 x 24.5 cm (14 1/2 x 9 1/2 in.) mounted An unsigned dramatic triptych of a naval battle during the Sino-Japanese War (1894-1895). Japanese ships to the left of the scene attack and commandeer a Chinese ship. A large explosion can be seen, with ﬁgures being thrown from the ship. Small boats ﬁlled with Japanese naval crew are seen rowing towards the defeated Chinese ship. Condition: Some minor creasing and staining, three separate panels to form a triptych. [47226] £400

5. Chôsen Hôtô kaisen Nichigun daishôri: The Japanese Fleet Wins a Great Naval Victory near Phung-to in Korea Nagashima Shungyô (active 1882-1905) Woodblock (nishiki-e) 1894 Vertical ôban triptych; each sheet 37 x 24.5 cm (14 1/2 x 9 1/2 in.) mounted Signature: Ôju Môsai Shungyô Publisher: Hasegawa Tsunejirô A dramatic triptych of a naval battle during the Sino-Japanese War (1894-1895). Within the scene we see several large ships, a large explosion is seen to the right, with several figures fleeing the ship in the waters surrounding it. Dramatic canon fire is coming from the Japanese ship in the foreground, with small boats in the background ferrying Japanese naval officers to commandeer the enemy ships. Nagashima Shungyô (active 1882-1905) was a Japanese artist and printer. The son of Utagawa Yoshitora (active from 18501880), he is most known for his military and naval battle scene woodblocks. Condition: Some time toning to sheet, three separate panels to form a triptych. [47230] £400

FINE PRINTS & OLD MASTERS

6. Milky Way/ The Pleiades/ The Visible Creation/ A Finite View of Infinity [Anonymous] Mezzotint and etching [Thomas Wright, 1750] 196 x 124 mm unmounted A very scarce collection of four plates from Thomas Wright’s “An Original Theory or New Hypothesis of the Universe”, depicting the Milky Way, the Pleiades, “visible creation” or the region around the Sun, Sirius and Rigel, as well as “a finite view of infinity” or galaxies illustrating the “unknown immensity of creation” as Wright describes. Plates XIV, XV, XVII and XXXI out of thirty-two.

Thomas Wright of Durham (1711-1786) was an astronomer, best known for being the ﬁrst to explain the appearance of the Milky Way in his book “An Original Theory or New Hypothesis of the Universe”. Although he gathers and describes very interesting astronomical ﬁnds, it is clear from his writing that Wright tries to combine the science with a religiously satisfying vision of the universe and the idea of creation. Condition: Trimmed close to image at tops, plate numbers lost. Inscriptions in ink with titles to lower margins, and some touches to the plates, likely to be contemporary to publication. [47153] £2,200

“Milky Way” or Plate XIV: described by Thomas Wright as “an Observation I made myself, of a Part of this Zone near the Feet of Antonius; which, (by a Mistake of the Engraver) is, as it appears through a Tube of two convex Glasses.” He quotes previous mentions of the Milky Way by Milton and Democritus, and explains the phenomenon, stating that it is due to our earth’s immersion in a layer of stars, the combined light of these stars creates a milky eﬀect when looking at other spaces within the layer. “The Pleiades” or Plate XV: described by Thomas Wright as “a well known Knot of Stars in the Sight Taurus” together with a mention of the “Persides”, (Perseids) a meteor shower in the constellation in Perseus, and other star clusters in the Milky Way, explaining how far the Milky Way stretches and calculating that there would be at least 3,888,000 stars in this galaxy, and seeing that this is only a small part of “the great Expanse of Heaven”, there is no other way to describe space as “inﬁnity” and we will need “eternity” to comprehend it. Wright also attaches a table with newly discovered stars he has regularly observed, and concludes the chapter by explaining how he calculates the distances of stars and planets to the earth and to each other, the magnitude of space, and the shape of our star system, which he envisions to be diskshaped.

“The Visible Creation” or Plate XVII: described by Thomas Wright as representing “a kind of perspective View of the visible Creation, wherein A represents the System of our Sun, B, that supposed round Syrius, and C, the Region about Rigel.” meaning that A represents the Sun, B is the brightest star in the sky known as Syrius in Canis Major, and C is Rigel, a double star in the Orion constellation. “A Finite View of Infinity” of Plate XXXI: described by Thomas Wright in the last chapter of his book as “a partial View of Immensity, or without much Impropriety perhaps, a finite View of Infinity”, illustrating the idea that there is an unlimited “Plenum of Creations” not unlike the known Universe.

7. Fides Crispijn de Passe the Elder after Maerten de Vos Copper engraving [c. 1580-1588] Image 140 x 83 mm, Sheet 153 x 85 mm unmounted A personiﬁcation of Fides or faith, one of the seven virtues, as a women, holding a cross and chalice, trampling a snake under her feet, and the scene of the Last Supper in the background. Inscription below image: “Fides. Hæc est alma ... est iustiﬁcare Fides.” Hollstein, Maarten de Vos, 1169; Hollstein, Passe, 426 Condition: Trimmed to image and below inscription, tipped to album page. Overall time toning, small discolouration to lower left edge. [47040] £100

8. [The Fable of The Bundle of Sticks] attributed to Elisha Kirkall Mezzotint and etching [c. 1730] Image 298 x 260 mm, Sheet 315 x 277 mm unmounted A king is seated on a throne with two young men standing before him. One is holding the short end of a long, broken stick, while the king points towards the other, who is trying to break a bundle of sticks. The scene is set in a classical decor, with the king seated on an impressive chair on an elevated stage, with large pillars and curtains behind him. This is probably an example of a print produced during the late eighteenth century, after an old master drawing. Various artists produced similar prints during that time, such as the Prestel and Ploos van Amstel families and many others.

A variation on Aesop’s fable of the “Old man, his sons and the bundle of sticks”. The story goes that an old man summons his sons. The old man doesn’t have long left to live, and wants to impart some wisdom on his sons, who have been fighting amongst each other. He tells his sons to try and break a bundle of sticks he offers them. When they fail to break the bundle, the old man tells his sons to take the bundle apart and try to break the individual sticks, which they are able to do quite easily. The moral of this is, as the man tells his sons, that there is strength in unity, and that the sons are better off working together than fighting amongst themselves, which will be especially true after the old man’s death. Condition: Slight overall time toning. Wear to the edges of sheet, resulting in minor creases and tears. [46216] £200

9. Frontispiece to “Secretario y Consegero de Señores y Ministros” Maria Eugenia de Beer Etching [1645] Image 167 x 118 mm, Plate 170 x 125 mm, Sheet 204 x 142 mm unmounted Frontispiece to Gabriel Pérez del Barrio Angulo’s “Secretario y Consegero de Señores y Ministros”, a treatise on good government by a state official. The complex symbolism of the image is explained in the foreword by Francisco del Barrio Angulo, the author’s son, printed on the verso of the frontispiece. The elements depicted all refer to virtues needed by the good state official, according to Angulo, and are surrounded by a band lettered: “IVSTITIA ADMINISTRATVR VIRTVTES QVIBVS RECTE” (”The powers of the virtues that pertain to the righteousness of the administrator”) and “TRABAXO VERDAD” (”I work true”). The sun at the top symbolises the governor, who leads people to live in harmony and peace, he has to be as prudent as the serpent, cunning as the crocodile, provide for his people and be as charitable as a stork, be both as rigourous and as merciful in his ruling as the bee, he has to keep a vigilant eye on his people and punish reptilian delinquents, just as the crane who has a lizard in its beak, and most of all the governor needs to be just, symbolised by the scales of justice that are balanced on a stand made from diamond, one of the strongest materials known. The many crowns, the laurel and palms leaves make it obvious that royal governance was important to Barrio, but the implication of the references in the text and by the two crowned bull heads to the myth of the Minotaur, which does not paint royalty in a particularly great light, is unclear. The two cornucopia’s flanking the image, refer to wealth and prosperity of a well-governed state.

Finally, the coat of arms to the bottom of the image has not been linked to any existing heraldry, even though the tower and the overall composition is similar to Spanish coats of arms. It is possible that this coat of arms was designed to suit the utopian view of the well-governed state, described in this book. Condition: Overall time toning and slight damages to the sheet, mainly to the lower left corner and at the plate mark at top right. [46008] £100

10. [Emblematic design] attributed to Cosimo Mogalli after Ranieri del Pace Copper engraving [c. 1700] Image 176 x 138 mm unmounted A rare emblematic design, probably to be used as a frontispiece or ex libris. A ﬁgure wearing a crown and ermine cloak, is holding a sceptre and pointing at a shield with Andrea Chiavistelli’s coat of arms, held by a putt, while another holds up a banderole with Andrea’s name and refers to Florence, his city of birth. A view of Florence can be seen in the distance, while the lion and river god in the foreground also refer to the city. Two very similar designs by this artist in the collection of the British Museum (1897,0113.13 & 1897,0113.14.) Inscription to banderole at centre: “Andrea Chiavistelli Firenze” and to stone throne at lower left: “NB” with faded hand written inscription in ink. Condition: Trimmed within plate mark. Light staining. [46202] £80

11. Portrait of an Old Man with a Beard after David Teniers Etching [c. 1626-1740] Image 167 x 106 mm unmounted A half-length portrait of an elderly scholar, turned to the right, wearing a cap, fur-lined cloak and necklace with a medallion. He is keeping his hands warm in a muﬀ, a small vial and an hourglass stand in a niche behind him. Ex. col.: William Bell Scott. Collector’s mark on verso (Lugt 2607). William Bell Scott (1811-1890) was an English writer, painter, print- collector and maker, who worked in Edinburgh, Newcastle and London. Hollstein Dutch, D. Teniers II 34, ii/ii. Condition: Trimmed within the plate. Light staining to edges and bottom of sheet. [46017] £120

12. [Figure Study] Paul Sandby Copper engraving [Paul Sandby, London, c. 1750] Image 100 x 78 mm, Sheet 113 x 90 mm unmounted An engraved sketch of a large man, standing in profile to the left, gesturing and talking to another man behind him, with a dog at his feet, and several other figures in the background. From Paul Sandby’s “Good Entertainment. A New Book of Figure Studies” which was a collection of figure studies by Sandby. Condition: Trimmed just within plate. Overall time toning and surface dirt built up, light stains to left of image. [47125] £50

13. [Tomb] attributed to Jean Claude Richard de Saint-Non Aquatint and etching [c. 1770â&#x20AC;&#x2122;s] Image 144 x 100 mm, Sheet 145 x 102 mm unmounted A painterly depiction of what appears to be a composite tomb or mausoleum in a state of ruin, similar to those found on the Via Appia Antica, with carved columns, pictorial relief carving, and topped with a sarcophagus. Condition: Trimmed within plate. Small pinhole to top left corner. Slight overall time toning. Tipped to album page. [46217] ÂŁ120

PORTRAITS

14. His Most Serene Highness Louis Philippe, Duke of Orleans John Raphael Smith after Sir Joshua Reynolds Mezzotint London Publish’d March 30th 1786 by J R. Smith No.31 King Street Covent Garden Image 680 x 450 mm, Plate 650 x 455 mm, Sheet 654 x 456 mm unmounted A striking full length portrait of Louis Philippe Joseph, Duke of Orleans, turned slightly left and standing on a small hill, wearing military uniform and accompanied by a turbaned man tending to his horse. Title in English and French below. The 1984 British Museum catalogue ‘Gainsborough and Reynolds in the British Museum’ notes: “The portrait was painted while the Duke was on a visit to England in 1785. It was given by the Duke to the Prince of Wales, and was shown at the Academy in 1786; later it was burnt in the ﬁre at Carlton House. The print is lettered in French and English, as it would obviously have a large French sale.”

Louis Philippe Joseph, Duke of Orleans (1747-1793) was son of Louis Philippe d’Orleans and Louise Henriette de Bourbon. He was the cousin of Louis XVI, but several conﬂicts between the two, concerning Louis XVI’s choice of Marie Antoinette as a bride, and publicly challenging the King’s authority, led him to life away from court. He supported the French Revolution, by joining the Staten General as a representative and earned the nickname “Philippe Égalité”, a name he later adopted after renouncing his title in 1792. Initially seen as a hero of the people, he was eventually arrested and sent to the guillotine, when his son ﬂed to Austria with commander Dumouriez, and he was suspected of being involved. Chaloner Smith 125. Early state before alteration of publication line. Condition: Very good impression. Light creasing to inscription space. Trimmed to the plate mark below inscription space. [47091] £850

15. Mad.lle La Chevalier D’Eon de Beaumont Fencing at Carlton House, 9th April, 1787. [Anonymous] Etching [London, c. 1787, but later 19th century impression] Image 144 x 105 mm, Plate 180 x 110 mm, Sheet 220 x 138 mm unmounted A full length portrait of Chevalier d’Eon, lunging towards an opponent with a fencing sword before a crowd of onlookers. Charles-Geneviève-Louis-Auguste-André-Timothée d’Éon de Beaumont (1728 - 1810), usually known as the Chevalier d’Éon, was born in Burgundy. Starting as a French soldier, d’Eon eventually became part of Louis XV’s network of spies, and was ﬁrst sent out to Russia and later to England. Although born male, d’Eon often wore women’s clothes during missions, and spread rumours about having been born female. After an argument with the French ambassador, d’Eon refused to go back to France and even threatened to release sensitive information to the British court. Eventually Louis XV exiled d’Eon but allowed for a generous pension, as long as d’Eon handed over any documents incriminating the French government, and demanding d’Eon oﬃcially declared a gender. She choose to be known as a woman, and dressed accordingly for the rest of her life. Not being able to rejoin the army as a female however, she enjoyed a celebrity status in England and earned money by fencing competitively. [47005] £60

16. [Artist’s portrait] Johann Peter Ott Etching [c. 1790] Image 102 x 60 mm, Plate 112 x 72 mm, Sheet 258 x 200 mm unmounted A vignette portrait of an unidentiﬁed man. The paintbrushes and mixing palette indicate that the portrayed man was possibly an artist, and the small book in front of the portrait, inscribed “Bibl: Sac” suggest that he was involved with the production of a Biblia Sacra. A geological specimen and crystal like forms also sit next to the portrait roundel. Condition: Good impression with wide margins. Slight overall time toning. [17436] £50

17. Iohn Kersey borne at bodicot neere Banbvry in the Covnty of Oxford, A.O D.NI 1616 William Faithorne after Gilbert Soest Copper engraving [c. 1673] Image 254 x 170 mm, Sheet 260 x 177 mm unmounted A bust portrait of John Kersey, turned to the right, wearing a doublet with lace collar and a luxurious cloak. The portrait is framed in oval border, with mathematical books and Kersey’s motto on a curtained banderole in the bottom margin. Frontispiece to Kersey’s ”The Elements of that Mathematical Art Commonly Called Algebra”, ﬁrst published in London by William Godbid for Thomas Passinger and Benjamin Hurlock in 1673.

John Kersey (1616-1677) was an English mathematician, best known for his book “The Elements of that Mathematical Art Commonly Called Algebra”, published in 1673-1674 in two volumes. O’Donoghue 1. This is the third state of the print, with the triangle at the bottom right in reverse and full stops added to the motto. Condition: Strong impression. Time toning, mainly to the corners of the sheet. Trimmed within plate mark and tipped to album page. [46042] £150

Inscription to curtain below portrait: “Vox audita perit. Litera scripta manet”, translates to: “What is spoken vanishes from remembrance. Only what is written remains”

18. Imago, Nobiliss: Et Consultiss: Viri Dn. Sebastiani Brandii, IC.ti clarissimi Jacob van der Heyden Copper engraving 1631 Image 85 x 74 mm, Plate 183 x 90 mm, 323 x 216 mm unmounted A half-length portrait of Sebastian Brandt, turned to the left, wearing a fur hat and luxurious fur-lined cloak, holding a scroll to his chest. Full title to top: “Imago, Nobiliss: Et Consultiss: Viri Dn. Sebastiani Brandii, IC.ti clarissimi, Comitis Palat: Cæsarei, nec non inclytæ liberæq. Imper: Civitatis Argentinæ, consiliarij ac cancellarij (olim) dignissimi” Inscription to top of plate: “Natus Anno CHRI: 1458 Denatus A° CHR. 1520. Act. suæ 63” Inscription in lower margin, twelve Latin verses by Philipp Friedrich Glaser, a German poet active in Strasbourg in the 1630’s : “Sic oculos, sic ille genas, sic ora ... quis viget orbe”, meaning: “This is what his eyes, cheeks, his mouth looked like ...” Inscription to bottom left: “Sumptib, J.J.B. Caelavit. Jacob, ab Heyden, Anno Dni: 1631” Inscription to bottom right: “In perennem Sapientissimi viri Ejuq, ... fecit et excudi curavit Philipp, Frideric, Glaser, Argentinensis” Sebastian Brandt or Brant (1457-1521) was a writer and law academic from Germany, active in Strasbourg. He worked as a municipal secretary, councillor to emperor Maximilian I and count palatine and produced several writings on politics, religion and the legal system. Brant is best known however for his satirical poem “Das Narrenschiff” (”The Ship of Fools”), in which he delivers criticism on corruption in the Roman Catholic Church, and human flaws in general in an allegory where more than a 100 fools, each representing an example of human corruption, travel together on a ship. Hollstein German, Heyden, 120. Condition: Excellent impression with wide margins. Minor overall time toning. Unidentified watermark featuring a cross, crown and crescent. [46046] £120

19. [Francis Bacon, Viscount St. Alban] Simon van de Passe Copper engraving [1638] Image 179 x 110 mm, Plate 183 x 115 mm, Sheet 268 x 170 mm unmounted Portrait of Francis Bacon, Viscount St Alban, half-length, wearing hat and ruﬀ, in an oval cartouche. Plate reworked, with engravers and publishers name removed. Inscription of Bacon’s family motto in banderole above: “MONITI MELIORA”. Inscription of three lines in cartouche below: “Hon.m Francisc Bacon Baro ... 1626 Annoq Aetat 66”.

He spent the rest of his life in retirement, to devote himself to scientiﬁc research, which has led him to be regarded as the father of experimental science in this country. He published “Essays” (1597), the “Advancement of Learning” (1605), the “Novum Organum” (1620) and many other works. Hollstein, Simon de Passe, 16, iii/iv, O’Donoghue 11, Franken 461, Hind II.249.6.iii Condition: Strong impression. Slight overall time toning, with minor stain to centre. Several creases to top left. [46059] £115

Francis Bacon, Viscount St Alban (1561-1626), was a lawyer, philosopher, essayist and scientist, and one of the great intellectual ﬁgures of Jacobean England. He was appointed Lord Chancellor in 1618, but was impeached for bribery three years later and confessed to ‘corruption’ and ‘neglect’.

20. Johannes Gadburius [Anonymous] Copper engraving [Published by James Cottrel, London, 1662] Image 170 x 135 mm unmounted A bust portrait of John Gadbury, turned to the right, wearing a large lace collar over a doublet and cloak, he is sitting before a curtained window with the night sky in the background. Frontispiece to Gadbury’s “Collection of Nativities”, ﬁrst published in 1662. John Gadbury (1627-1704) was an English astrologer. He was born in Wheatley in Oxfordshire and studied at Oxford. Gadbury met astrologer William Lilly and returned to Oxford to study astrology. Within a couple of years Gadbury had set up his own astrological practice in London and published “An Emendation of Hartgil’s Astrological Tables”, which he dedicated to Elias Ashmole.

His relationship with William Lilly eventually soured over political and ideological differences and the two often attacked each other in their works. Gadbury wanted to make astrology more methodical and specialised in natal astrology. His “Collection of Nativities” was the first work of its kind, with detailed analysis of how the composition of the stars in the sky at the time of someone’s birth influence their personality, with examples of well-known people. Inscription to oval decorative border: “JOHANNES GADBURIUS ... OXONIÆ. ANNO MDCXXVII” O’Donoghue 4 Condition: Excellent impression. Oval cut-out and laid to album page with manuscript border, side margins and bottom part of frontispiece with Gadbury’s horoscope missing. Minor overall time toning. [46047] £100

21. Vera Effigies Richardi Sanders Thomas Cross Copper engraving [Printed by R. White, for Nathaniel Brooke, London, 1653] Image 178 x135 mm, Sheet 204 x 135 mm unmounted A quarter-length portrait of Richard Saunders, turned to the right, wearing a fine cloak and lace collar with ribbon. Saunders is standing in his study near a window, a writing desk and a celestial globe to his right, and his family crest which features three elephants, hovers to the left of his head. Frontispiece to Saunders’ “Physiognomie and Chiromancie, Metroscopie, The Symmetrical Proportions and Signal Moles of the Body”, first published in London in 1653. Inscription to lower margin: ”Art, and the Graver did in Councell sit, ... The Graver drew his face, and Art his Booke”

Richard Saunders (1613-c. 1687) was an English chiromancer, who wanted to legitimise it as a science. He published several works, his ﬁrst “Physiognomie and Chiromancie, Metroscopie” being mostly a translation of Jean Belot’s “Les Oeuvres”. Ten years later, in 1663, Saunders published “Palmistry, the Secrets thereof Disclosed” in which he states that a chiromancer must not only be a good observer, have a good memory, be honest and discreet, but also have knowledge of astrology, philosophy, mathematics and linguistics. Alongside chiromancy, he was also a respected astrologer and even published a book on practical physics. Hind 81. Condition: Strong impression. Trimmed to image and just below inscription, laid to album page. Two small holes to crest top left. [46050] £150

22. Gulielmus Dugdale Wenceslaus Hollar Etching [c. 1656] Image 214 x 166 mm, Plate 254 x 170 mm, Sheet 257 x 174 mm unmounted A half-length and almost full face, Dugdale is shown at fifty years old, seated at a table, wearing a coat with fur cuffs and a small white collar, and a broad-rimmed hat. Resting upon the table is a rolled manuscript, with Dugdale’s right hand placed around it. To the left, there are copies of “Monasticon Anglicanum” and “The Antiquities of Warwicksh: Illustrated”, and to the right is an ink well with a pen and knife. Behind Dugdale, documents and seals sit upon shelves. In the upper corners, Dugdale’s crest and a griffin head with wings are present. Frontispiece to Dugdale’s “The Antiquities of Warwickshire Illustrated” published in 1656 “The History of St Pauls Cathedral in London” in 1658.

Inscription to lower margin: “Ovid: Nescio qua natale solum dulcedine cunctos Ducit et immemores non ﬁnit esse sui.” A quote from Ovid, translating to: “Our native land charms us with inexpressible sweetness and never allows us to forget that we belong to it.” William Dugdale (1605-1686) was a famous English antiquarian, and a herald. As a scholar, Dugdale proved to be highly inﬂuential in the development of medieval history as an academic subject. Pennington 1392.II; New Hollstein German, Hollar, 1445, v/v. Condition: Trimmed close to plate mark. Topped to album page. Manuscript inscription to lower right: “copy. Int: Cl: g. p. 78” [46058] £180

23. Gvlielmus Camdenus Historicus Britannus Johann Theodor de Bry Copper engraving [Theodor de Bry, Frankfurt am Main, 1597] Image 133 x 99 mm unmounted A half-length portrait of William Camden, turned slightly to the left, wearing a doublet with slits, and overcoat, a cap and large layered ruﬀ, in an oval border with decorative background featuring ﬂowers and insects. First published in Jean Jacques Boissard’s “Icones virorum illustrium doctrina” from 1557 and reused in his “Bibliotheca chalcographica” from 1669. Both books contained portraits of notable men, and were composted in collaboration with Robert Boissard, Theodor de Bry and Johann Theodor de Bry.

Inscription to lower margin: “DVM laus Britannis sarta mansura ... CAMDENI BRITANNIA in libris” William Camden (1551-1623) was an English historian, author, topographer, herald, and antiquarian. Camden’s most celebrated work was the “Britannia”, the ﬁrst chorographical study of the British Isles, and a watershed moment for British antiquarianism. Condition: Strong impression. Time toning, mainly to the corners. Trimmed to printed border. [46063] £100

24. His Excellencie the lord Fairfax Generall of the forces raised by the Parliament Peregrine Lovell Etching [c. 1647] Image 167 x 120 mm, Plate 188 x 127 mm, Sheet 202 x 138 mm unmounted A half-length portrait of Thomas Fairfax, wearing a sash and necklace over his doublet, with lace collar and cuffs, holding a baton in his left hand. Featuring soldiers and ships in the background. This impression with the artist name burnished off and the inscription to lower margin, underneath Hebrew lettering: “In English, His Integrity hath broken the wilde Ass” . Thomas Fairfax, 3rd Baron Fairfax of Cameron (1612-1671), Parliamentary Commander-in-Chief. Perhaps the most accomplished Parliamentarian officer, Fairfax was appointed Lord General of the New Model Army after his victory at Marston Moor, 1644. He had a string of victories, beginning with the battle of Naseby in 1645, and won the Civil War for Parliament. He refused the serve the court in 1650, when extremists at the court tried the King and planned to lead the army into Scotland in 1650. He retired from public life until 1660, when he supported General Monck’s march to London to demand a free parliament. He was also one of those who went to the Hague to greet Charles II before his Restoration to the throne. O’Donoghue 41 Condition: Good impression. Slight ink offset to plate. Trimmed close to plate mark and tipped unto album page. [46089] £80

25. [Robert May] Richard Gaywood Etching [Nathaniel Brooke, 1660] Image 112 x 87 mm, Sheet 144 x 87 mm unmounted Half-length portrait of Robert May, with his shoulders turned slightly to the right, whilst looking towards the viewer. He wears a simple cloak, and a broad white collar, from which two tassels hang. The portrait was featured as a frontispiece to May’s ‘The Accomplisht Cook, or The Art and Mystery of Cookery’. Inscription to lower margin: ‘What wouldst thou view but in one face all hospitalitie, the race of those that for the Gusto stand whose tables a whole Ark comand of Natures plentie, wouldst thou see this light, peruse Maijs booke, tis hee’ Inscription to centre right: “Ætatis Suae. 71 1660”. Robert May (1588 - c.1664) was an English professional chef. He received his training in France, and worked in England. He wrote “The Accomplisht Cook”, published in 1660, which was the ﬁrst major English cookbook. O’Donoghue 1 Condition: Trimmed within plate, with publication line missing. Tipped to album page. [46082] £65

26. Richard III Renold Elstrack Copper engraving [c.1618-1625] Image and Sheet 171 x 110 mm unmounted A half-length portrait of King Richard III, turned slightly to the left, wearing fur-lined vest and cloak, a hat with brooch and jeweled necklace, holding an orb and a broken sceptre. In oval border, with decorative background featuring crowns, a bull and boar, as well as the royal coat of arms. From Compton Holland’s “Baziliologia: A Booke of Kings”. Inscription to lower margin: “The portraict of Richard the 3. King of England ... against the Exchange”

Richard III (2 October 1452 – 22 August 1485) was King of England from 1483 until his death. He was the last king from the House of York. O’Donoghue 10 Condition: Trimmed to neatline around image and below publication. Time toning upper corners. Tipped to album page. [46060] £65

27. God preserue the Kyng euermore [King Henry the eight] Jacob Faber after Hans Holbein the Younger Woodcut [London, 1550] Image 205 x 133 mm unmounted A depiction of King Henry VIII sitting on a throne, under a canopy, in a richly ornamented room, surrounded by members of his court. From Edward Hall’s “The Union of the Two Noble and Illustre Famelies of Lancaster and York” ﬁrst published in 1548, and with a second edition in 1550. Edward Hall (c. 1498-1547) was an English historian who worked in London as a sergeant, under sheriﬀ and member of Parliament for Wenlock and Bridgnorth. His book “The Union of the Two Noble and Illustre Famelies of Lancaster and York” was banned by Queen Mary but was eventually reprinted in 1809 as “Hall’s Chronicle”.

His description of the English monarchs and their rule beginning with Henry the IV and closing with the contemporary Henry VIII, became a major source for Shakespeare’s historical plays, especially “Richard III”. Artist’s monogram “IF” in bottom right corner. Condition: Slightly rubbed impression. Trimmed just outside printed border. Minor damage to corners. Watermark featuring a decanter with one handle, with a crown and ﬂower to the top and initials “NB” to the centre. This watermark is identiﬁed as used in England between c. 1550 to 1600. (Gravell Watermark Archive POT.146.1, et al.) [46083] £150

28. Der konigl: kronungs-actus. Wiliilmi III. und Mariæ in England, zu Londen Matthäus Merian Etching [c. 1689] Image 300 x 365 mm, Plate 305 x 375 mm, Sheet 340 x 376 mm unmounted

In the dilemma of the Glorious Revolution of 1688 she supported her husband and Protestantism rather than her Catholic father, and she was invited to return to England in 1689 and share the monarchy with William (1650-1702) who already governed Holland, Zeeland, Utrecht, Guelders, and Overijssel of the Dutch Republic as Stadtholder.

A depiction of the Coronation of Queen Mary II and William of Orange in 1689, from Merian’s ‘Theatrum Euopaeum’.

Condition: Trimmed close to plate mark. Vertical centre fold as issued. Minor overall time toning, mainly to centre fold. Small tear to top left corner of sheet. [47028] £120

Queen Mary II (1662-1694), was the eldest daughter of James, Duke of York, later James II, and Anne Hyde. Mary married Prince William of Orange in 1677.

29. The most ilustrous Prince Maurice by the Grace of God Prince of Orange after Pieter Isaacsz Copper engraving [c. 1600] Image 93 x 72 mm, Plate 115 x 76 mm, Sheet 121 x 80 mm unmounted A scarce, half-length portrait of Maurice of Nassau, turned to the left, wearing a ﬁne doublet with lace collar and sash. This is after a print by Boëtius Adamsz Bolswert, which was in turn inspired by a painting of Pieter Isaacsz.

Maurice of Nassau, Prince of Orange (1567 - 1625) succeeded his father, William I ‘the Silent’, in 1585, taking the role of Stadtholder of all provinces within the Dutch Republic, except for Friesland. after Hollstein Dutch, Bolswert, 385. Condition: Strong impression. Trimmed close to the plate mark. [46077] £60

Inscription to lower margin: “The most ilustrous Price Maurice ... most noble of the Garter”

30. Pieter Both Gouv.r Gener. van India [Anonymous] Copper engraving [c.1700] Image 287 x 172 mm, Sheet 293 x 177 mm unmounted A half-length portrait of Pieter Both, turned slightly to the right, wearing a fine doublet with a flat lace collar and belt. Both’s family crest with a helmet with visor, three fleur-de-lis and a lily. Inscription to top left corner, “K.K.” and top right “No1”.

Pieter Both (c. 1550-1615) was a Dutch colonist, who sailed to the East Indies in 1599-1601 and was later governor of the colony. On his way back to the Netherlands in 1615, two of his four ships shipwrecked in Mauritius and Both drowned. The second largest mountain in Mauritius, which has a peculiarly head-shaped rock at its top, and is named after Pieter Both. Condition: Trimmed within plate mark and tipped to album page. [46075] £85

31. [The Tomb of Holy Roman Emperor Rudolph II / The Tomb of Henry Frederick, Prince of Wales] Eberhard Kieser Etching [Sigismund Latomus, Frankfurt, 1613] Image 272 x 343 mm, Plate 275 x 347 mm, Sheet 298 x 360 mm unmounted A double plate with a The Tomb of Holy Roman Emperor Rudolph II to the left and The Tomb of Henry Frederick, Prince of Wales to the right. From Gotard Arthus’ “Mercurius Gallo-Belgicus” (1603-), continuation of an earlier historical periodical with the same name.

Inscription to the top left: “CASTRVM DOLORIS. Klag Oder Grabmahl Rom. Key: May: RVDOLPHI II” Inscription to top right: “TOMBE ODER GRABMAHL. Des Konings in Engelandt Sohns, Henrici, Printzen uon Walles &c.” Hollstein German, Kieser, 9. Condition: Pressed vertical folds. [46166] £180

32. Sir William Blizard Knt. F.R.S. &c. Samuel William Reynolds after John Opie Mezzotint London. Published 1805 425 x 350 mm, 500 x 350 mm, 530 x 385 mm unmounted A three-quarter length portrait of Sir William Blizard, wearing an academic robes and holding a sheet of paper. Inscription below image: “Professor of Anatomy & Surgery to the Royal College of Surgeons, and Senior Surgeon of the London Hospital. From the original Picture by John Opie, R.A. Painted for, and in the Possession of Samuel Jackson Esqr. F.R.S. A.S.”

Sir William Blizard (c.1743-1835) was a British surgeon and professor. He founded the School of Medicine attached to the London Hospital in 1785, with Robert Maclaurin. Blizard was also a founding member of the Medicalo Society of London and the Medical and Chirurgical Society. Condition: Strong impression. Slight surface dirt built-up to margins. [47088] £300

GENERAL INTEREST

33. Kat [Cat] Conrad Gesner Woodcut [c. 1551] Image 155 x 90 mm mounted An early and lifelike, striped seated cat, from the ﬁrst volume of Conrad Gesner’s “Historia Animalium”. A hand coloured impression of this print recently featured the British Library exhibition ‘Harry Potter - a History of Magic’ with reference to the ﬁrst English translator of Gessner’s work, Edward Topsell, note that ‘The familiars of witches do most ordinarily appear in the shape of cats, which is an argument that the beast is dangerous to soul and body.’

Condition: Full sheet, with overall time toning and creasing. Latin text throughout, name of the animal in German, Italian, and French above image. Staining from previous mount. Small illustrations of diﬀerent types of dogs on both sides of the sheet. [46985] £185

34. Rhinoceros Conrad Gesner Woodcut [c. 1551] Image 165 x 235 mm mounted A striking sixteenth century print of a rhinoceros, after the design by Albrecht Dürer. From the ﬁrst volume of Conrad Gesner’s “Historia Animalium”. Condition: Full sheet, with overall time toning and creasing to text. Old glue stains from tape, to edges of the sheet, not aﬀecting image. Latin text throughout. Small illustration of a three-horned deer, being milked, on verso. [46981] £700

35. Elephas [Elephant] Conrad Gesner Woodcut [c. 1551] Image 175 x 245 mm mounted A bold, sixteenth century, print of an elephant from the ﬁrst volume of Conrad Gesner’s “Historia Animalium”, published in the same year the Indian elephant ‘Solomon’ travelled from Lisbon to Vienna. Condition: Full sheet, with overall time toning and creasing. Old glue stains from tape, to edges of the sheet, not aﬀecting image. Latin text throughout. Small illustration of a unicorn on verso. [46982] £400

36. Tigribus [Tiger] Conrad Gesner Woodcut [c. 1551] Image 120 x 160 mm mounted A rather static but fascinating sixteenth century depiction of a Tiger, from the ﬁrst volume of Conrad Gesner’s “Historia Animalium”. In 2012 the historian and researcher Florike Egmond discovered evidence in the Amsterdam University Library that the illustration of this tiger was made from studying a real life tiger in Florence, likely to be in the menagerie of the Medici family. Condition: Trimmed sheet, missing bottom half, with overall time toning and creasing. Latin text throughout. [46984] £200

37. The Giraffes. at the Surrey Zoological Gardens. with the Arabs who brought them over [Anonymous] Lithograph with hand colouring London. Published for the Proprietor July 11th 1836 at March’s Opera Office 145 Oxford Street Image 192 x 292 mm, Sheet 252 x 338 mm unmounted A depiction of the three giraffes at the Royal Surrey Gardens in Walworth, London, named ‘Ah Bebe.(Female)’, ‘Marquke’, and ‘Gazeella’, along side ‘Mr.Cross’ tending to the female giraffe. The gardens were opened in 1831 by Edward Cross, who wanted to turn them into one of London’s first zoos.

In 1836 a few giraﬀes were brought over from Cairo, accompanied by their breeders. Both the giraﬀes and their attendants became immediately popular and were often depicted in newspapers. Condition: Trimmed at base, missing part of publication line. Minor overall surface dirt built up. [47097] £150

38. [Moonlit Landscape with Barges] David Lucas after Aert van Neer Mezzotint [London, c. 1829] Image 79 x 114 mm, Sheet 94 x 132 mm unmounted A ﬁne miniature mezzotint of a moonlit river scene with two barges on the water, one pulling a smaller boat along, as well as a man mooring his boat on the foreground, and sailing ships and a windmill in the distance. Faintly printed “Liede.” below image and inscription written in pencil, below image: “Pure mezzotint”. Condition: Trimmed within plate mark and tipped unto album page. [47096] £100

39. [The Queen of Great Britain arriving in Portsmouth 25 May 1662] / [The Arrival in London of the King and Queen from Hampton Court to Whitehall along the River Thames 23 August 1662] Matthäus Merian after Dirk Stoop Etching [c. 1670] Image 308 x 391 mm, Plate 316 x 398 mm, Sheet 340 x 432 mm unmounted The top image depicts the arrival of Queen Catharina of Braganza in Portsmouth, were she was greeted by King Charles II, who she was about to marry. The lower image shows the married couple arriving as guests at Whitehall. From Merian’s ‘Theatrum Euopaeum’, after the design of two prints in a series of seven by Dirk Stoop, depicting the journey of Catharina of Braganza from Lisbon to England.

German inscription to top: “Abbildung wie die Konigin von Gross Britanien zu Portsmouth an gelangt ist den 25 May Anno 1662” (”The Queen of Great Britain arriving in Portsmouth 25 May 1662”) German inscription to top of second print: “Abbildung wie die Statt London den Konig und Konigin von Hampton Court kommendt nacher Whithall auf dem ﬂuss Thames begleitet 23 Aug 1662” (”The Arrival in London of the King and Queen from Hampton Court to Whitehall along the River Thames 23 August 1662”) Condition: Repaired tear to bottom margin. [46197] £250

40. [Battle of the Downs, 1639] Matthäus Merian Etching [c. 1645] Image 206 x 650 mm, Plate 211 x 656 mm, Sheet 338 x 687 mm unmounted A representation of the Battle of the Downs, a sea battle between the Spanish and the Dutch ﬂeet, during the EightyYears-War, in which the Dutch defeated the Spanish Armada in the Channel. The Dutch were under the command of Admiral Maarten Tromp against the Spanish Don Antonio de Oquendo. From Merian’s ‘Theatrum Europaeum’.

German inscription to top: “Wahre Abbildung der Mächtigen Seeschlacht, so sich zwischen den Hispanischen und Holländischen Schiﬀarmata in den Duynen den 21. Octobris 1639. zu getragen, darinen die Holländer under dem Admiral Martin Harperstromp die Victori erhalten” (”Truthful representation of the great Naval battle between the Spanish and Dutch navy in the Downs, on the 21st of October 1639, during which the Dutch were victorious under the leadership of Admiral Martin Harperstromp”). Hollstein Dutch, Savery, 17. Condition: Printed over two sheets and joined. Slight ink oﬀset. Vertical folds as issued. [46196] £300

41. [Naval battle in the English Channel near Dover] Georg Keller Etching [Germany, c. 1605] Image 230 x 298 mm, Plate 238 x 306 mm, Sheet 259 x 318 mm unmounted A depiction of the sea battle between the Dutch and Spanish navy in the English Channel near Dover, which took place during the Eighty-Years-War, from the 12th to 13th of June 1605. Dover and London are shown to the left, the French city of Calais to the right and Vlissingen, a Dutch harbour town, in the background. The Dutch ﬂeet, under the command of Lieutenant-Admiral Willem de Zoete, has intercepted some Spanish ships, transporting troops on their way to Flanders.

Admiral de Zoete had permission to sink these galleons, disguised as English and German ships, and to tie up and capsize the captured soldiers in pairs of two as response to the previous treatment of soldiers captured by the Spanish. A few of the Spanish ships are chased into the English territory, within range of the Castle at Dover. Willem de Zoete, Lord of Haultain (1565-1637), was a Dutch navy oﬃcer, who served as Lieutenant-Admiral from 1601-1627. He commanded the Channel Fleet in 1605, overtaking many Spanish ships. Later on he went on several expeditions to the Spanish sea and the Mediterranean, ﬁghting pirates and defending coastal cities. He retired from the navy in 1627 to became governor of Sluis, where he would spent the rest of his days. Condition: Pressed folds as issued. Light toning to sheet. Slightly weak, but rare, impression inscribed by artist. [46200] £300

42. Slag aen de Boyne after Romeyn de Hooghe Etching [Casteleyn, Haarlem, 1691] Image 157 x 257 mm, Plate 165 x 265 mm, Sheet 190 x 288 mm unmounted A depiction of the Battle by the Boyne river in 1690, with William III on horseback, leading the troops across the water, towards the battle in the distance. This battle was fought between William of Orange and his catholic uncle James II, resulting in William’s victory and James’ renewed exile to France.

From “De Hollandse Mercurius”, a Dutch periodical reporting on news from the Netherlands, the Dutch colonies and Europe. The newsletter was run by Peter Casteleyn from 1651 to 1676, continued by his brother Abraham until 1681 and taken over by Abraham’s widow for another 10 years. Hollstein Dutch, Hooghe, 165. Condition: Vertical folds as issued. Overall time toning. Slight ink oﬀ set to plate, mainly to lower edge. Trimmed within plate mark to top. [46203] £200

43. In Nemen van Corck/ Ver Overen van Kinsalen [Anonymous] Etching [c. 1690] Image 156 x 120 mm, Sheet 188 x 139 mm unmounted A scarce double prospect of the sieges of Cork and Kinsale by William III in 1690. The defeat of the Catholic James II during the Battle of Boyne after the Glorious Revolution, was followed by the capture of Jacobites in Cork and Kinsale.

William III (1650 â&#x20AC;&#x201C; 1702) or Willem, Prince of Orange, governed Holland, Zeeland, Utrecht, Guelders, and Overijssel of the Dutch Republic as Stadtsholder from 1672 onwards. From 1689 he reigned as William III over England and Ireland, and as William II over Scotland. He married the English Princess Mary (1662-1694) in 1677, and after the Glorious Revolution became joint ruler over England, Ireland and Scotland with her in 1689. Condition: Light toning to edges of the sheet. [47029] ÂŁ180

44. Hollandsche Mercurius attributed to Romeyn de Hooghe Etching Tot Haerlem bij Abraham Casteleijn, Anno 1690 Image 155 x 122 mm, Plate 165 x 130 mm, Sheet 188 x 142 mm unmounted Frontispiece to “De Hollandse Mercurius” for the year 1690, featuring references to the main events of 1689 such as Queen Mary and William of Orange being crowned, the sieges of Bonn and Mainz during the Nine-Years’ War, and the relief of Londonderry from the siege by James II.

From “De Hollandse Mercurius”, a Dutch periodical reporting on news from the Netherlands, the Dutch colonies and Europe. The newsletter was run by Peter Casteleyn from 1651 to 1676, continued by his brother Abraham until 1681 and taken over by Abraham’s widow for another 10 years. Condition: Light time toning to edges of the sheet. [47030] £100

45. Abbildung der Statt un Rivier von Rochester, Chetham, etc. / Prospect dess England Shepeij, und der Festung Shirenasse Matthäus Merian Etching [1677] Image 296 x 365 mm, Plate 300 x 367 mm, Sheet 334 x 410 mm unmounted Double prospect of the Dutch Raid on the river Medway in 1667. The Dutch navy attacked the English ships anchored near Chatham and Gillingham, under the command of Lieutenant Admiral Michiel de Ruyter, after capturing the town Sheerness.

A reduced copy with German inscriptions of the large prospect by Romeyn de Hooghe after the design of Willem Schellinks, originally published by Nicolaes Visscher in 1667, this impression from Merian’s ‘Theatrum Euopaeum’. Hollstein Dutch, Hooghe, 75 (copy). Condition: Good impression. Light creasing, and vertical folds as issued. [47051] £150

46. De Hollanders victorye te Chattam / De verovering van Schernesse after Romeyn de Hooghe Etching [c. 1667] Image 174 x 277 mm, Plate 178 x 282 mm, Sheet 205 x 330 mm unmounted Double prospect of the Dutch Raid on the river Medway in 1667. The Dutch navy attacked the English ships anchored near Chatham and Gillingham, under the command of Lieutenant Admiral Michiel de Ruyter, after capturing the town Sheerness.

Reduced copy of the large prospect by Romeyn de Hooghe after the design of Willem Schellinks, published by Nicolaes Visscher the Elder in 1667. Hollstein Dutch, Hooghe, 75 (copy). Condition: Slight ink oďŹ&#x20AC;set to plate mark. Pressed vertical folds as issued. [46205] ÂŁ250

47. By permission of the Patentees, This Engraving of the First Carriage, the “Ariel”, is respectfully inscribed, to the Directors of the Aerial Transit Company, by their obedient Servants, The Publishers. W. Walton Lithograph with hand colouring Day & Haghe, Lithrs. to the Queen. London, Pub March 28th, 1843, by Ackermann & Co. Strand. Image 142 x 224 mm, Sheet 216 x 280 mm unmounted A depiction of William Henson’s “Aerial Steam Carriage”, named “Ariel”, patented in 1842, flying over pyramids. Henson’s goal was to start an airfreight company, with his partner John Stringfellow, transporting goods around the world. Even though the Ariel never actually took flight, it did influence the design of the modern monoplane. Condition: Light time toning and foxing. [47025] £220

48. Cricket at Hong-Kong [Anonymous] Woodcut London, The Graphic, Aug. 26, 1876 Image 212 x 297 mm, Sheet 290 x 396 mm unmounted A depiction of cricket players on a field in Hong Kong, watched by bystanders, and a scene occurring in the foreground when the ball flies off-field close to a man carried in a sedan chair. The Graphic, founded by William Luson Thomas, was a weekly illustrated newspaper in London that ran from 1869 until 1932. Believing that the popular Illustrated London News was unsympathetic towards artists, Thomas published The Graphic to compete. Condition: Illustration printed from several blocks. Minor time toning, mainly to edges of sheet. [47037] £120

49. Cirque des Champs-Elysees/ Auriol Victor Adam Lithograph with hand colouring Parts publie par Jeannin, Place du Louvre 20, Imp. de Lemercier. Benard et Ce. Image 225 x 305 mm, Sheet 284 x 368 mm unmounted A depiction of Jean-Baptiste Auriol performing various acrobatic stunts at the Cirque des Champs-Elysees, such as juming over a row of lined up horses and balancing on two chairs. Jean-Baptiste Auriol (1801-1881) was a French clown, juggler and acrobat, who came from a family of circus performers. He became one of the main acts of the Cirque des ChampsElysees. Condition: Slight overall surface dirt built up. [47026] ÂŁ300

50. The Lord’s Prayer Richard Williamson Copper engraving London. Published August 1st, 1814, by R & E Williamson. Ornamental Writing Engravers. No.8 Brook Street, West Square. Image 104 x 73 mm, Plate 113 x 91 mm, Sheet 262 x 193 mm unmounted

Inscription below image: “Size of Circle, to the above Prayer, One Fifth of an Inch Diameter./also the Russian’ Lord’s Prayer in the same size” Condition: Proof. Printed on india laid paper. Overall time toning and surface dirt built-up. [47084] £120

The Lord’s Prayer, written in miniscule letters at the centre, depicted as a source of light, framed with a wreath of leaves, grapes and wheat. This publication was accompanied by the Russian version of the Lord’s Prayer, for the occasion of Tzar Alexander of Russia’s (1777-1825) visit to England in the June of 1814, celebrating the peace after the defeat of the French and the abdication of Napoleon Bonaparte.

51. The Church Catholick [Anonymous] Copper engraving [London, 1675] Image 260 x 317 mm, Sheet 262 x 320 mm unmounted A large flourishing tree, symbolising the church flourishing under episcopacy or in other words being governed by bishops. The large fruits from the tree represent places where the episcopacy was implemented successfully, such as “Church of Sardis Bps”, “Church of Hippo Bps”, and “Church of Marseille Bps”, and the branches symbolise the apostles, evangelist and saints such as “S. Andrew”, “S Hilde” and “S Clemens”. The tree is flanked by two smaller trees growing among its roots, with the inscriptions explaining “Presbytery began 1541” and “Independence began 1647” and two men on ladders, reaching to cut off some of the branches. In the background several men are planting new trees, with the inscriptions “New, but not True Plants” and “These hold neither Root nor Order”. From William Cave’s “Antiquitates Apostolicae”

Inscription along the trunk of the tree, from root up: “Governed by Episcopacy 1541 years” Inscription to bottom: “Omnes enim illi valde posteriores sunt, quam episcopi, quibus apostoli tradiderunt ecclesias. Irenaeus L. 4 Adv. haereses 29.”; and inscriptions to fruits of the tree and banderoles throughout. BM Satires 1997 Condition: Trimmed to printed border. Overall time toning. Vertical folds as issued, split and slight loss to centre fold. Small tear to lower right edge. Album paper attached to part of verso. [47045] £150

TOPOGRAPHY

52. Southampton Audit House & Market. as it appeared on the night of the 25th. of January. 1842. on the occasion of the Christening of the Prince of Wales W. Carpenter Aquatint with original hand coloruing [Published by W. Carpenter, 60 High Str. Southampton, c. 1842] Image 165 x 145 mm, Sheet 227 x 187 mm unmounted A scarce hand coloured aquatint depicting a crowd gathered outside the Audit House in Southampton, celebrating the christening of the eldest son of Queen Victoria, Albert Edward, then the Prince of Wales, and later King Edward VII.

The baptism occurred in St. George’s Chapel in Windsor, but the facade of the Audit House in Southampton was decorated with a large illuminated piece, featuring the initials and symbols of Victoria and Albert, and the Prince of Wales. King Edward VII (1841-1910) was the eldest son of Queen Victoria and Prince Albert. He was the Prince of Wales shortly after being born, and became King Edward VII after his mother’s passing in 1901. He was married to the Danish Princess Alexandra. Condition: Trimmed, missing publication line. [47022] £90

53. Der Hafen von London, Das Zollgebaude und die neue London-Brucke Christian Friedrich Muller after Th. Schuhmann Lithograph Lith. v. C.F. Muller in Carlsruhe [1841] Image 200 x 405 mm, Sheet 253 x 430 mm unmounted A Thames view of the south bank of London, featuring the London Bridge, St Paul’s Cathedral, the Customs House, and the hustle and bustle of steam and sailing ships on the river. From Muller’s “Das Karlsruher Unterhaltungsblatt” for the year 1841. Condition: Vertical folds as issued. Minor overall time toning, mainly to folds. [47039] £150

54. Londres vue prise sur la Tamise J. Jourdan after Nicolas Marie Joseph Chapuy Lithograph with hand colouring Lith. de Turgis [Paris, c. 1860] Image 312 x 448 mm, Sheet 493 x 692 mm unmounted A large lithographic view from the Thames, featuring St. Paul’s Cathedral and London Bridge, sailing and steam ships ﬁll the near and far banks of the river. Title in French and Italian below the image. Number 15 from Chapuys’ series “Ports de Mer D’Europe”, depicting important European ports. Condition: Minor overall time toning and creasing. [47086] £500

Vues d’optique Perspective views, or vues d’optique, are a special type of popular print published in Europe during the eighteenth century. These prints were a form of entertainment meant to be seen through devices called “optical machines,” “optiques,” “zograscopes” or “peepshows.” The prints were exhibited by traveling showmen in the streets throughout Europe and also were collected by those in the professional and upper classes who had the optical machines at home. There was a great curiosity about the appearance of unvisited European cities and exotic locations in the further reaches of the globe, and these prints were one of the only ways the general public could get a look at the wider world. When displayed in the optique, the prints were able to transport the viewer into a far away place-an unknown city, or perhaps into the midst of a dramatic bit of contemporary history or to the distant past. The optical machines used for these prints had a lens which enhanced for viewers the magniﬁcation and perception of threedimensional depth of the scenes depicted. A mirror was often used so that the perspective prints could be viewed when laid ﬂat, and in these cases the images were viewed in reverse.

It is therefore not unusual that the scenes shown were drawn in reverse, and there is also often a title printed in reverse along the top, allowing the viewers to quickly read the title. There was usually further text at the bottom of the prints, often in several languages, which could be read by the operator of the optique for the beneﬁt of his audience. The most characteristic feature of the perspective views is their emphasised linear perspective, done to further intensify the enhanced appearance of depth and illusionistic space in the prints when viewed through an optique. Another attribute of these prints is their bright, often crude hand colouring, applied boldly so to show the tints when viewed through the lens. The prints usually have a series of coloursblue, pink and yellow are common-crossing in bands from side to side, with bright highlights often including red. These cheerful and colourful images, with their fascinating history and peculiar appearance, make for unusual and appealing eighteenthcentury prints.

55. Vue Perspective a Londres de l’Admiraute du Nouveau Batiment Pour Les Gardes a Cheval [Admiralty House, Whitehall, London] Georg Gottfried Winckler after Robbert Soyer Copper engraving with original hand colouring Sevend a Ausbourg au Negoce comun de l’Academie Imperiale d’Empire des Arts libereaux avec Privilege de Sa Majeste Imperiale et avec Defense ni d’en faire ni de vendre les Copies [c. 1788] Image 250 x 385 mm, Plate 305 x 400 mm, Sheet 345 x 462 mm unmounted

A vue d’optique of the Admiralty House in Whitehall, London. The title is given in German and French below the image, and the French inscription: ’Vue Perspective a Londres de l’Admiraute du Nouveau Batiment Pour Les Gardes a Cheval’ in reverse above the image. Condition: Good impression with wide margins. Repair to bottom left of inscription space. Time toning to edges of the sheet. [47067] £180

56. Vue de l’Interieure de la Rotonde dans le Iardins de Ranelagh Balthazar Friedrich Leizel after Canaletto Copper engraving with original hand colouring Se vend a Ausbourg au Negoce comun de l’Academie Imperiale d’Empire sous son Priviledge et avec defense ni d’en faire ni de vendre les Copies [c. 1754] Image 272 x 407 mm, Plate 320 x 433 mm, Sheet 378 x 504 mm unmounted A vue d’optique of the rotunda at the Ranelagh Gardens in Chelsea, London. The gardens still exist, albeit on a smaller scale than the historic pleasure gardens. The rotunda or “chinese pavilion” was built in the gardens as a venue for concerts and other entertainments, and was opened in 1741, closed in 1803 and ﬁnally demolished in 1805.

The title is given in German and French below the image, and the French inscription: ’Vue de l’Interieure de la Rotonde dans le Iardins de Ranelagh’ in reverse above the image. Condition: Good impression with wide margins. Minor overall creasing, one vertical crease to centre. Time toning and surface dirt built-up to edges of the sheet. [47073] £180

57. Vue de L’Eglise Pareissiale des St. Bride Balthazar Friedrich Leizel after John Donowell Copper engraving with original hand colouring Se vend a Ausbourg au Negoce comun de l’Academie Imperiale d’Empire des Arts libereaux avec Privilege de Sa Majeste Imperiale et avec Defense ni d’en faire ni de vendre les Copies [c. 1770] Image 273 x 398 mm, Plate 315 x 422 mm, Sheet 346 x 456 mm unmounted A vue d’optique of St Bride’s Church in London. The title is given in English and French below the image, and the French inscription: ’Vue de L’Eglise Pareissiale des St. Bride’ above the image. Condition: Time toning and foxing, mainly to edges of sheet. [47077] £180

58. View of Durham Cathedral B. Lasbury after John O’Connor Steel engraving with hand colouring [1877] Image 205 x 365 mm, Plate 260 x 430 mm, Sheet 440 x 597 mm unmounted A view of Durham, with the river and bridge, and the cathedral on top the hill. From the Stationers’ Almanack for the year 1877. Condition: Good, clean impression with wide margins. [47085] £250

59. A North East View of Durham Abbey Hamble after Walmsly Aquatint with original hand coloruing Published by J. Deeley. 95 Berwick St. March 12. 1811 Image 332 x 450 mm, Plate 375 x 466 mm, Sheet 396 x 506 mm unmounted A large aquatint view of Durham Abbey from the riverbank, with two men surveying the area, and three people in a rowboat on the river. Condition: Minor overall time toning and creasing. Small stain to top right centre. [47087] ÂŁ300

60. A Present from Tunbridge Wells [Anonymous] Stipple Tunbridge: Pubd. as the Act directs by Thos. Wise. Nov. 1804 Image 65 x 80 mm, Plate 123 x 137 mm, Sheet 167 x 195 mm unmounted An unusual piece of printed ephemera, or possibly a frontis piece, featuring two putti standing next to a fountain, holding up a garland and a banner with the inscription: “A Present from Tunbridge Wells”. Condition: Possibly a later 19th century impression. Light staining to sheet and image. [47041] £50

61. Londonderry [Derry] [Anonymous] Etching [c. 1689] Image 153 x 120 mm, Plate 167 x 125 mm, Sheet 182 x 135 mm unmounted A depiction of the Siege of Londonderry (Derry), by James II in 1689. The Catholic King James II was deposed by his daughter Mary and her husband William of Orange during the Glorious Revolution. James fled to France and returned with an army of Jacobites and French Catholics, taking Dublin and later marching on Londonderry. The people of the city were fiercely Protestant and refused to surrender, and were eventually relieved by the British army, after withstanding 105 days of siege. In the end, James II was defeated a year later by William and Mary during the Battle of Boyne. Inscription to key at top right, referring to the different locations and stages of the siege at Londonderry: “Londonderry. 1. de Dom-Kerck 2. Wapin ... 8. Franse approches 9 Ontzet” Condition: Minor time toning, mainly to edges of the sheet. [47027] £180

62. Calais und Douver [Calais and Dover, Strait of Dover] [Anonymous] Etching [n.d. c. 1600] Image 152 x 237 mm, Sheet 190 x 326 mm unmounted A rare and slightly niave etching of the Strait of Dover, the narrowest part of the English Channel separating Britain from Continental Europe. To the left of the image is an idealised depiction of Calais, and Dover perched on a cliďŹ&#x20AC; edge to the right, with two boats on the channel. Condition: Overall time toning. Pressed vertical centre fold as issued, slight thinning of page to centre fold. Trimmed to plate mark to top edge. [47033] ÂŁ150

63. Lake of Albano Captain Thomas Hastings after Richard Wilson Etching Published as the act directs by T. Hastings Sept. 1820 Image 115 x 170 mm, Sheet 140 x 219 mm unmounted A view of Lake Albano near Rome, by the Alban Hills and Castel Gandolfo. From a series of 40 etchings by Captain Thomas Hastings entitled, “Etchings, from the Works of Richard Wilson.” Inscription below image: “The Original in the Possession of Lady Ford” Condition: Printed on India laid paper. Trimmed within plate at top. Minor time toning. [47031] £100

64. Il Duomo di Milano Bartolomeo d’Agnelli Copper engraving [c. 1762] Image and plate 330 x 490 mm, Sheet 342 x 500 unmounted A rare counter proof of d’Agnelli’s engraving of the exterior of the Duomo in Milan, depicting the cathedral before the ﬁnished facade. This unusual printing was taken from a still wet impression of d’Agnelli’s original resulting in the image and inscription below being printed in reverse. Inscription to bottom margin: “Vero disegno delle parti ... si vede dal disegno”.

Although the original print is currently generally attributed to Federico Agnelli, the appearance of the madonnini or the small statue of the Virgin Mary at the top of the large spire, which was only added in 1762, places this print at a later date and makes an attribution to Bartolomeo d’Agnelli more probable. Condition: Slight overall time toning and dirt built-up. Vertical centre fold. Trimmed close to plate. [47080] £250

65. Christian’s Monument. Hamilton’s Bay and Island James Harﬁeld Kernot after Sir John Ross Steel engraving London, Published 1834 by Captain J. Ross. R. N. Printed by Gaywood &Co Image 101 x 156 mm, Plate 155 x 228 mm, Sheet 250 x 308 mm unmounted A view of Hamilton Bay in Alaska, in a region known as the Arctic Archipelago or Canadian Arctic. From John Ross’ “Narrative of a Second Voyage in Search of a Northwest Passage” published in 1834. Condition: Overall time toning. Foxing to edges of the sheet. [46994] £50

66. Grahams Valley James Harﬁeld Kernot after Sir John Ross Steel engraving London, Published 1834, by Captain J. Ross. R. N. Image 104 x 156 mm, Plate 156 x 228 mm, Sheet 250 x 313 mm unmounted A view of Graham’s Valley or Graham Island, in a region known as the Arctic Archipelago or Canadian Arctic. From John Ross’ “Narrative of a Second Voyage in Search of a Northwest Passage” published in 1834. Members of John Ross’ crew are shown planting the Union Jack atop a pillar rock. James Harﬁeld Kernot (1802-1858) was a British printmaker. Condition: Overall time toning and foxing. [46995] £50

67. Felix Harbour William Radclyﬀe after Sir John Ross Steel engraving London, Published 1834, by Captain J. Ross. R. N. Printed by Gaywood &Co Image 100 x 152 mm, Plate 152 x 227 mm, Sheet 250 x 314 mm unmounted A view of Felix Harbour, in a region known as the Arctic Archipelago or Canadian Arctic. From John Ross’ “Narrative of a Second Voyage in Search of a Northwest Passage” published in 1834. Condition: Overall time toning and foxing. [46996] £50

DROLLS & CARICATURES

68. Smack the Coachman, Tipling within Doors; while his Fare are fretting without Thomas Ryley Mezzotint Publish’d according to Act of parliament Feby. 1, 1768 Image 132 x 112 mm, Sheet 157 x 126 mm unmounted A coachman sitting down, holding up a large tankard ﬁlled with foaming beer, his whip resting against his chair, and his pipe and tobacco on the table in front of him. Chaloner Smith undescribed, BM Satires undescribed Condition: Good rich impression. Trimmed to publication line at base. Light toning to margins and inscription space. [47042] £150

69. [The Conﬁdants/ Le Billet-Doux] Thomas Watson after Elias Martin Mezzotint London. Publish’d May 20th 1780, for Watson & Dickinson No. 158, New B Image 222 x 193 mm, Plate 256 x 195 mm, Sheet 312 x 240 mm unmounted A ﬁne proof impression of this mezzotint, depicting an intimate scene of two women taking tea around a small label, both wearing large elaborate hats and loose dresses, the lady on the left holding a letter and possibly reading or presenting it to her friend. The scene is framed in an oval, creating a vignette, almost as if the ladies are secretly being watched from a keyhole.

Chaloner Smith 1883 41.ii, Goodwin 61.ii Condition: Rare state before title. Good impression with wide margins. Minor discolouration to lower centre, and to the elbow of the lady on the right. Light printers crease to centre right of sheet. [47043] £300

70. Drawing from Life at the Royal Academy, (Somerset House) Richard Bankes Harraden after Thomas Rowlandson and August Charles Pugin Aquatint with original hand coloruing [Ackermann, London, 1 January 1808] Image 195 x 257 mm, Sheet 215 x 268 mm unmounted An early impression of this aquatint by Harraden, later impressions bear the details of John Bluck and lack the detail found in this printing, especially in the nude ﬁgure. A nude man poses for a group of students at the Royal Academy, who are sitting in three rows of a semi-circle, observing and drawing the model from life, a large lamp directed at him. From Ackermann’s “Microcosm of London”. Condition: Trimmed within plate mark, with loss of publication line. Minor overall time toning. Pressed centre fold. [47009] £200

71. George the IIIrd aged 72 1810. Reign’d 50 Years. A Royal Jubilee. Taken at Windsor by R. Dighton. Spring Gardens Robert Dighton Etching with hand colouring Pubd. Octr. 25th 1810 Image and Plate 270 x 200 mm, Sheet 285 x 227 mm unmounted A portrait of King George III turned in proﬁle and walking to the left, wearing full military uniform, with a large hat in his left hand and a sword by his side, and a wig with curl and tail in a bow. This portrait was made by Robert Dighton at the 50 year anniversary of King George’s reign. King George III (1738-1820), was the eldest son of Frederick, Prince of Wales, and the ﬁrst Hanoverian King to be born and bred in England. His reign from 1760 to 1820 was one of the longest and most eventful in modern times. Although plagued by apparent bouts of insanity, he maintained a meticulous personal interest in government until 1811. A patron of the arts and sciences, he amassed an extensive library and fostered an interest in agriculture. BM Satires 11589 Condition: Slight time toning, mainly to edges of the sheet. Minor overall surface dirt built up. Small tear to bottom left corner. [47023] £100

72. A Sketch Taken at Newmarket attributed to Joshua Dighton Lithograph London Pub. by R. Ackermann 101 Strand Printed by Engelmann Graf Coindet &cl 1821 Image 200 x 180 mm, Sheet 283 x 252 mm unmounted A portrait of Frederick, the Duke of York and Albany, seated on horseback, facing to the right in proﬁle, wearing an overcoat and top hat, spurs on his shoes, and holding a cane. Monogram to lower left: “I.D.”, probably the signature of Joshua Dighton, and sometimes also suggested to refer to John Doyle, although he signed his prints with “HB”. Frederick, Duke of York and Albany (1763-1827) was the second son of King George III and Charlotte of Mecklenburg-Strelitz, brother to the future King George IV, and was Commander in chief of the Royal Army. O’Donoghue undescribed Condition: Slight overall dirt built-up. Taken from an album, with old paper still attached to the corners on verso. [47044] £100

73. [Unknown Man] Richard Dighton Lithograph with hand colouring Printed by Geo. Rowe Cheltenham. Image 200 x 185 mm, Sheet 383 x 280 mm unmounted A portrait of an unknown man, standing and facing left, wearing an overcoat, top hat, gloves and holding a monocle in his right hand. Inscription written in pencil: “Thomas Moore” Condition: Slight overall surface dirt built up and creasing to sheet. Staining from glue to corners of sheet on verso. [47094] £100

74. Le nouvelliste sans argent [The novelist without money] Louis Maloeuvre Etching with hand colouring A Paris, chez Martinet, Labraire, rue du Coq. no. 15 [c. 1814] Image 209 x 167 mm, Plate and sheet 240 x 188 mm unmounted A caricature showing an elderly intellectual, in this case a novelist, sneaking up behind a newspaper hawker to try and read the headlines without having to pay for a paper. Inscription to top: “Musee Grotesque, No. 3 (bis)” Condition: Small ink stain to top centre. Slight overall time toning and foxing. Trimmed to plate mark. [47024] £100

75. To be sold with his Engagements the famous Race Horse Woolsack got by Jack Painter... after William Heath Etching with hand colouring Pub June 18-1829 by S. Gans 15 Southampton St. Strand Sole Publisher of P. Prys. caricatures/ None are original without this publication Image 203 x 322 mm, Sheet 257 x 358 mm unmounted A black race horse “Lot 3” with the head of Chancellor Lyndhurst, the purse of the great seal used as a saddlecloth, from a series satirising the rumours that the ministry had broken up in 1829, due to diﬃculties with Prime Minister Arthur Wellesley, Duke of Wellington. Full title reads: ‘To be sold with his Engagements the famous Race Horse Woolsack got by Jack Painter out of Nothing by Placeman and Dam the Expence is very quick at turning and well calculated to ride to the Dogs.’

John Singleton Copley junior, Baron Lyndhurst (1772-1863) was the son of an American painter, who settled his family in England when John was still a child. His father died in 1815 and left his family with many debts, for which John took responsibility and it paid oﬀ in instalments, being able to restore his family to a comfortable life. He was elected as Lord Chancellor three times. Pirated impression by S. Gans of William Heath’s caricature, originally published by Thomas McLean, with changes to the publication line feigning authenticity. BM Satires 15825 Condition: Trimmed within plate mark. Ligh staining. Minor tear to top edge, not aﬀecting image. [47034] £180

76. To be sold without Reserve to the Highest Bidder, that Famous Rat tailed Col Bob... after William Heath after Henry Heath Etching with hand colouring Pub June 18-1829 by S. Gans 15 Southampton St. Strand Sole Publisher of P. Prys. caricatures/ None are original without this publication Image 205 x 324 mm, Plate 255 x 365 mm, Sheet 268 x 376 mm unmounted

Pirated impression by S. Gans of William Heath’s caricature, originally published by Thomas McLean, with changes to the publication line feigning authenticity.

A brown race horse on a leash, “Lot 2” with the head of Robert Peel, from a series satirising the rumours that the ministry had broken up in 1829, due to diﬃculties with Prime Minister Arthur Wellesley, Duke of Wellington.

BM Satires 15815 Condition: Light time toning to margins. [47035] £180

Sir Robert Peel (1788-1834) was the son of a wealthy cotton manufacturer, who became the British Prime Minister in 1834, and is known for founding the Conservative Party and reforming the London Police force, which where ever after known as “bobbies”.

Full title reads: ‘To be sold without Reserve to the Highest Bidder, that Famous Rat tailed Col Bob got by Merchant out of Query “by expediency” is known to the sporting world for its quickness in turning/ the halter will go with the Lot.’

77. The Hell I-Go-Land Auctioneer & Appraiser. On His Ne Mant Mare Charles Williams Etching with hand colouring [c. 1814] Image 320 x 230 mm, Sheet 350 x 245 mm unmounted A scarce satirical depiction of Heligoland, an archipelago in the North Sea, which was first controlled by Denmark and then by the United Kingdom from 1807 to 1890. During the British occupation, it was often referred to as “Little London”. Infrastructure such as a port and warehouses were built and over a hundred British residents moved to the archipelago, as it became an important base for espionage against Napoleon and to smuggle goods to Germany. This intricate satirical scene depicts a group of Heligolanders and some Englishmen celebrating the victory of the British army over Denmark. People are proceeding down a wooden ramp along a cliff, with inscriptions indicating conversations throughout. These contain a few references to people who where probably actually living in Heligoland, but are now difficult to trace back, such as one man called Frain or Frane, and a broker named Benjamin. Inscription to top right, on a wall: “Auction And at Hamiltons Point—To be sold tomorrow night at 1 o’C a brown Time Peace in a gilt Fraim of the very first quality & Sundry other sour articles of the most finest sorts & some true Caricatures & some Greens & onions— possitive orders haveing come from lee [scored through and replaced by] England in a Parcel in a bit of a mistake”

Inscription to the top left, a group of Heligolanders are celebrating the peace and shout: “Huzza” Inscription to centre, a man holding unto a racehorse shouting: “Let me ride”; and the reply from its rider, galloping into the open mount of a ﬁre breathing monster: “No! No! I am a great Man & does as I likes, I told them so in England! but my Time is up! it’s time to be going positively going—going at last for this Brown Timepiece for Ne-mant-mare un 10 Pund” Inscription to lower centre, two Heligolanders in blue coats conversing with a small plump Englishman holding a cane, pointing at a notice board and saying: “Houses Forests and Estates Morrow Morning may be viewd in the Market Place—by the Broker B-nj-n—’, and the English man says: “Heer H-o-n Heer Fr-n-e how gaits—we must have no forestalling—everthing must be sold in Public.” The two Heligolanders reply: “Yes Heer B-n-j-n all Tings must be sold mit de Hammer—it is good for de Helligolanders,” and “Was is de matter, I tink de Peoples make much Plaisir—we must see to bind dem all to de Peace.” Inscription to lower right, three Heligolander women are carrying baskets, one says: “Teno Upboppom.” BM Satires 12317 Condition: Trimmed just within plate mark. Small loss to bottom left margin, not aﬀecting title or image. Light dirt build-up and occasional staining. [47046] £320

78. [Shaving] B.N. after D.V. Etching c. 1788 Image and plate 175 x 110 mm, Sheet 282 x 220 mm unmounted A man in his night gown shaving his beard, sitting in front of a table with a large mirror, Davidsons Windor soap, a tin with powder, and his wig resting on top of the mirror. Condition: Horizontal fold. Light foxing and surface dirt built-up. [47150] £100

79. The Bedmaker Edward Bradley Etching [1849] Image 136 x 97 mm, Plate 150 x 113 mm, Sheet 246 x 185 mm unmounted A satirising depiction of a college bed maker, with an abnormally large head, holding a broom in one hand and a bottle to her mouth with the other and standing before a cupboard ﬁlled with more bottles. From the third part of Bradley’s “College Life. A Series of Original Etchings”. This series formed the inspiration for his later book “The Adventures if Mr. verdant Green”. Inscription below image: “Ye Collegianne his Bedde-Makere ... bye youre leave. - From “Ye Books of Merrye Jestes” Condition: Overall time toning. Staining from previous mount outside the plate mark. [47095] £50

80. The “Head Keeper” on the “Varsity Estates” [Anonymous] Watercolour [c. 1875] 260 x 378 mm unmounted A scarce original watercolour of the academic and journalist James Richard Thursfield. Thursfield stands, wearing a checked tratan suit and clutches a gun under one arm, and holds two strings to walking toys in his other hand. The wooden pull-along horse to the left symbolises “private property” and the wooden pull-along dog to the right refers to “varsity”. Thursfield is standing in a field, likely near University Parks, with the Oxford spires in the background.

Monogram of inter linked R.B.C/R.C.B to bottom left, bellow the depiction of two crossed smoking pipes. This image was later photographically reproduced and issued by Thomas Shrimpton & Son. (Oxford, Bodleian Library, G.A. Oxon 4o 413, fol. 265). A cataloguing note from the Shripton & Son’s Oxford Caricatures collection in the Bodleian notes “The caricatures were essentially produced for undergraduates and mainly by undergraduates”. James Richard Thursﬁeld (1840-1923) was an alumnus of Corpus Christi College and fellow of Jesus College. After his marriage in 1880 he became an editor of “The Times” and published books on British naval history. Condition: Laid to board. Staining from previous mount. [47152] £150

Artists, Printmakers, & Publishers

BIOGRAPHIES

Victor Adam (1801-1867) was a French painter and lithographer. A native of Paris, Adam studied at the Ecole des Beaux-Arts, and also in the ateliers of Meynier and Régnault during the years of 1814 to 1818. Bartolomeo d’Agnelli was an Italian copper engraver, and part of a family of typographers and printmakers. Very little is known about his life and work, and he is therefore often confused with his ancestor with the same name, who was active around 1625. Maria Eugenia de Beer (fl. 1630-1652) was a Spanish engraver and painter. Her father was the Flemish artist Cornelis de Beer, who had moved to Spain and settled there around 1608. There was a lack of skilled engravers in Spain, which opened up opportunities for women, such as Maria Eugenia, to play an important role in this field. She specialised in book illustrations and frontispieces, often riddled with symbolism and allegorical representations. Jean Jacques Boissard (c. 1528-1602) was a French painter, writer and antiquarian. He was mainly active in Metz, but travelled starting from Rome throughout Europe and even the Middle-East. He often collaborated with his relation Robert Boissard, as well as his friend Theodor de Bry and others, mostly providing text and occasionally drawings for publications. Boëtius Adamsz Bolswert (c.1585-1633) was a renowned copperplate engraver born in Friesland. He was the elder brother of the engraver Schelte à Bolswert. He apprenticed with Abraham Bloemaert, and in around 1610 Bolswert worked in Amsterdam, and sometimes also in Utrecht. Reproductions of large landscapes by David Vinckboons and Gillis van Coninxloo III were among his early successes. In 1615 and 1616 he was licensed by the Dutch State-General to engrave the portraits of Michiel Jansz van Mierevelt, and in 1618 he depicted the ceremonial funeral-bed of the newly-deceased Philipp Wilhelm, Prince of Orange. In 1620 he was admitted into the Guild of St Luke in Antwerp. In 1624 he collaborated with the Brussels Jesuit Father Herman Hugo (1588–1629) on the production of the highly popular devotional book Pia Desideria. In 1627, whilst working in Brussels, he published his own devotional book Duyfkens ende Willemynkens Pelgrimagie, which was later translated into French. Bolswert established two publishing houses, one in Holland, and a larger one in Belgium. He was influenced by Philip Galle and similar engravers, as well as the painter Rubens’ rendering of form.

Reverend Edward Bradley (1827-1889) was a cleric, ordained in 1850, but also an artist and novelist. He learned wood engraving from George Cruikshank, made book illustrations, most notably to his own works “College Life” and “Verdant Green”. He also made watercolours and photographs. Johann Theodor de Bry or Jan Dirk de Bry (1561-1623) was a Flemish-born printmaker and publisher, the son of Theodor de Bry. He worked in the family publishing firm in Frankfurt and moved it to Oppenheim in 1609 until 1620. Johann often worked together with his father and other family members, and specialised in the production of emblem books and grotesques. He also reproduced engravings after old masters, such as Maarten de Vos, Sebald Beham, Abraham Bloemaert and even Titian. Theodor de Bry (1528 - 1598) was a Flemish-born engraver and editor, who travelled Europe. De Bry fled from Liège in fear of the Spanish persecution of Protestants, lived in Strasbourg, travelled to Antwerp, London and finally settled in Frankfurt am Main, where he started a publishing business and printing workshop. Giovanni Antonio Canal, known colloquially as Canaletto (18th October 1697 - 19th April 1768) was an Italian painter and printmaker. Canaletto is celebrated as the master of Venetian vedute, being one of the most popular artists for British aristocrats on the Grand Tour. Canaletto’s major inspiration were the Roman vedute and capricci of Giovanni Paolo Pannini. Although best known for his paintings, Canaletto also produced a number of etchings, including a series of 30 plates of Venice and its surrounds. The interest in Canaletto’s work in Britain was great, spurred by the collections of various British nobles, and especially by George III, who amassed a significant number for the Royal Collection. As a result, prints of Canaletto’s vedute were in high demand. W. Carpenter (fl. 1841) was a British printmaker and publisher in Southampton, little is known about his life, but his name appears on a few prints around the early 1840’s, as an artist and print publisher. Nicolas Marie Joseph Chapuy (1790-1858) was a French architect, painter, printmaker and draughtsman. Thomas Cross (fl. 1632-1682) was a British engraver, best known for his production of many copper engraved portraits.

Joshua Dighton (1831-1908) was a British draughtsman and printmaker, specialising in sporting and equestrian portraits. Little is yet known about his life, but he was most likely the second son of Richard Dighton and part of this family of artists and printmakers. Richard Dighton (1795-1880) was best known for his numerous portraits of City and West End characters. Apprenticed in his father Robert Dighton’s studio, he continued the production of full-length, profile etchings. He began his extensive series of City and West End characters in 1817, publishing over one hundred etchings during the next ten years. In 1828, Dighton ceased producing etchings and moved to the provinces - Cheltenham and Worcester where he lived and worked over the next twenty years, before returning to London. Robert Dighton (1752 - 1814) was an English draughtsman and printmaker. He was the son of the art dealer John Dighton, and father of the artists Robert junior, Denis and Richard. Dighton was especially well known for his satirical prints, which he initially supplied to Carington Bowles and Haines. Later plates he etched, published and sold himself. Dighton infamously stole prints from the British Museum to stock his shop in Charing Cross. When this was discovered in 1806, Dighton escaped prosecution, but was forced to lie low in Oxford until the scandal died down. While there, he produced a series of satirical portraits of academics and country gentlemen. The series was continued in Bath and Cambridge. John Donowell (1753 - 1786) was an eighteenthcentury British architect and engraver, most notable for his architectural work at West Wycombe Park in Buckinghamshire, where he appears to have been influenced by the works of Colen Campbell. Alongside Thomas Sandby and Thomas Malton, Donowell was considered to be one of the principal architect-draughtsmen in the third quarter of the eighteenth-century. He drew a number of topographical drawings, mostly views of London. His work was exhibited at the Royal Academy in the 1770’s and 1780’s, and was also published as prints during this period. Renold Elstrack or Reginald Elstrack (1570 - 1625?) was the most prolific and competent of the few native-born engravers working in London during the reign of James. A few documents relating to his life are known. Elstrack’s first plates were made in 1598, when he was 28, which suggests that he only turned to this profession after a different apprenticeship (perhaps as a glasier like his father). The 1598 works are five maps in a translation of Linschoten’s Voyages, and in this Elstrack collaborated with William Rogers (active 1589-1602/3). Elstrack’s style depends on Rogers, the finest of the native Elizabethan engravers, who sometimes signed his plates ‘Anglus et Civis Londinensis’, and it is very likely that he had been his pupil. He seems to have taken from Rogers something of his talent as a designer. Jacob Faber (fl. 1516-1550) was a printmaker from Lorraine,

who was active in Basel from 1516 to 1525. He mainly produced book illustrations in woodblock, often after the designs of Hans Holbein the Younger. William Faithorne (c. 1620-1691) was an English engraver and draughtsman. He apprenticed first to painter and printseller Robert Peake and later to engraver John Payne. Faithorne was imprisoned and then exiled as a royalist during the Civil Wars. By 1652 however, he had returned to London and able to establish his own print shop, thanks to his close links with the international print trade. In addition to selling prints, he continued to work as a printer and engraver, and published “The Art of Graving and Etching in 1662”. On the Restoration of the monarchy in 1660, Faithorne was appointed copper engraver to the king. One of his sons, also named William Faithorne, became a mezzotint engraver. Richard Gaywood was a British printmaker and publisher active between 1644 and 1680. Trained by Wenceslaus Hollar, Gaywood was one of the most prolific etchers of his day. During the 1650s he took over from Hollar as the principal supplier of portrait etchings to the London trade. A friend of Francis Barlow, Gaywood produced a large number of etchings of birds and animals after him. They also worked together on a large etching after Titian’s Venus and the Organist, which was dedicated to John Evelyn. Although Gaywood published plates himself, much of what he produced was made for the publisher Peter Stent. Conrad Gesner (1516-1565), also known as Konrad Gessner, was a Swiss naturalist and physician. He is known for his “Historia Animalium”, an ambitious work in which he compiled all the existing knowledge on animals, in several volumes, published between 1551 and 1556. The last volume, on serpents, was uncompleted by the time of his death and eventually published posthumously in 1587. Gesner claimed that all the illustrations were made either from life or based on reliable sources, but there are still a few mythological creatures to be found in his descriptions and plates. Richard Bankes Harraden (1778-1862) was an English printmaker, specialising in landscape and topographical views. Active in Cambridge, Harraden was the son of Richard Harraden (1756-1838), with whom he published plates as Harraden & Son. He worked with his father and two other artists to produce twenty-four engraved plates of Cambridge for Cantabrigia depicta... (Cambridge: Harraden & Son, 1809-10). Captain Thomas Hastings (1778 - 1854) was born Thomas Barnett, but changed his surname to Hastings in 1812, after his father had been convicted of perjury. Thomas was an officer in the British Army from 1795-1811, made Captain in 1799, and later went on to work as a Customs Officer in Liverpool from 1819 to 1853. He was however, also an amateur painter, draughtsman, watercolour artist and etcher and exhibited his work at the Royal Academy of Arts, Society of Painters in Watercolours, British Institution, Liverpool

Academy, and Hibernian Academy. He became an Associate of the Liverpool Academy and was the founder of the Carisbrooke Archers Society in 1829. William Heath (c. 1794 - 1840) was an ex-Captain of Dragoons, illustrator of colour-plate books, and prolific caricaturist. From around 1827 he used the pseudonym Paul Pry (from the name of a character in a comedy of 1825 by John Poole, that became a tag used for any very inquisitive person) with the emblem of a small man holding a walking stick in a lower corner of his plates. Henry Heath (fl. 1822-1842) was a British printmaker, designing political caricatures, and later picking up lithography in the 1830’s. Little is yet known about his life and work, such as relation to William Heath. Jacob van der Heyden (1573-1645) was a Flemish-born printmaker and publisher. His father, Jan van der Heyden, moved his family from Mechelen to Strasbourg to avoid persecution by the Spanish Catholics. Jacob trained with Raphael Coxcie in Brussels, and eventually permanently moved to Brussels in 1635. Jacob specialised in genre prints with historical scenes or landscapes as the main elements, and also produced several portraits. Hans Holbein the Younger (1497-1543) was a painter, draughtsman and designer of woodcuts. He also worked with glass-paintings, metalwork, and jewellery. Holbein was born in Augsburg. He worked in Basel as a journeyman at the end of 1515, and was first employed there with Ambrosius by humanist scholars and their printers. In 1519, he was admitted to the painters’ guild. With an introduction from Erasmus to Sir Thomas More, he left for England at the end of August 1526, and stayed for two years working in the court circle, before returning to Basel. He returned to England in 1532, and, under the patronage of Henry VIII, he produced a succession of magnificent portraits. The most famous of which was the mural painting glorifying the Tudor dynasty in the Whitehall Palace. It was regrettably destroyed in the fire of 1698. Compton Holland (fl. 1616-1622) was a British print publisher, at the Sign of the Globe over against the Exchange. He published a series of portraits by Simon van de Passe, when the Dutchman first arrived to England in 1616. Two years later, Compton collaborated with his brother Henry, to produce the “Basiliologia”, a series of portraits of English royalty and notables (including a portrait of Matoaka, better known as Pocahontas). Besides this he also published antiCatholic propaganda and topical prints. Wenceslaus Hollar (1607-1677) left his native Prague in 1627. He spent several years travelling and working in Germany before his patron, the Earl of Arundel brought him to London in 1636. During the civil wars, Hollar fought on the Royalist side, after which he spent the years 1644-1652 in Antwerp. Hollar’s views of London form an important record of the city before the Great Fire of 1666. He was prolific and

engraved a wide range of subjects, producing nearly 2,800 prints, numerous watercolours and many drawings. Romeyn de Hooghe (1645-1708) was a Dutch printmaker, painter and art dealer. He was mostly active in The Hague, Amsterdam and Haarlem. Pieter Isaacsz (1569-1625) was a Danish-born painter, printmaker, draftsman, as well as an art dealer and diplomat. In 1578 his father brought the family from Denmark to Amsterdam. Pieter apprenticed with Hans van Aachen, travelling with his teacher to Venice, Florence, Rome, and even Munich, Keulen and Frankfurt am Main. After his training, he moved back to Amsterdam, but often visited Copenhagen. Eventually he moved back to Copenhagen and was appointed court-painter and art dealer to King Christian IV and diplomat. Georg Keller (1568-1634) was a German painter and printmaker. He was born in Frankfurt am Main, trained with Jost Amman in Nuremberg and returned to work in Frankfurt. He produced topographical views, but is best known for his military and battle scenes, illustrating historical books. James Harfield Kernot (1802-1858) was a British printmaker. Eberhard Kieser (fl. 1609-1632) was a German engraver and publisher, active in Frankfurt am Main. Elisha Kirkall (c.1682 - 1742) was a printmaker, traditionally wrongly called ‘Edward’. Born in Sheffield, and believed to have worked in London c.1700. Kirkall worked in a wide variety of types and genres and pioneered a unique chiaroscuro technique in the 1720s combining woodcut, etching and mezzotint. B. Lasbury (fl. 1876-1879) was one of the steel engravers who worked on the publication of the Stationers’ Almanack during the 19th century, and collaborated with John O’Connor. Balthasar Friedrich Leizel or Leizelt (fl. 1760-1799) was a German printmaker, active in Ausburg. Peregrine Lovell (fl. 1646-1647) was an English etcher, mostly producing portraits after Wenceslaus Hollar and others. David Lucas (1802-1881) was a British printmaker who specialised in mezzotint. He was a pupil of Samuel William Reynolds, and worked from Bryanston Square, London, upon the completion of his education. He produced prints after Gainsborough, Vernet, Isabey and Hoppner amongst others, but it was his works after Constable that earned him true renown. The collaboration between the pair was one of the most successful in the history of British printmaking. Whilst Turner amassed a group of faithful engravers to whom

he would turn, Constable virtually employed only Lucas, and this ﬁdelity was repaid by the stunning translation his work received from 1829, until long after his death in 1837. Louis Maloeuvre (1785- after 1829) was a French printmaker, who often signed his name “Maleuvre” or “Maloeuvre ﬁls” to distinguish himself from his father who had the same name. Elias Martin (1739-1818) was a painter and printmaker, specialising in portraits and landscape scenes. He was born in Stockholm, moved to Paris in 1766 to study under Carl Vernet, and to England were he was an associate at the Royal Academy and worked in Middlesex and London, moving back to Sweden for eight years between 1780-1788, returning to London between 1788-1791 and eventually settling in Sweden for the rest of his life. Matthäus Merian the Elder (22 September 1593 - 19 June 1650) was a Swiss engraver born in Basel. Beginning his career in Zürich where he learned the art of copperplate engraving, Merian went on to study and work in various cities throughout France. In 1615, Merian returned to Basel. His return to Basel, however, was short lived, moving to Frankfurt the following year to work for the publisher Johann Theodor de Bry. Merian later married de Bry’s daughter. He was also the father of Maria Sibylla Merian, one of the greatest natural history artists of the late 17th and early 18th centuries.

Johann Peter Ott (c. 1765-1818) was a Swiss artist, probably related to the painter Johann Georg Ott. Ranieri del Pace (1681-1738) was an Italian painter and draftsman, active in Florence. Crispijn de Passe the Elder (1564-1637) was a prominent Dutch engraver and the founder of a distinguished publishing house in Cologne, which produced portraits of European nobility, and religious prints amongst others. The family were forced to leave Cologne because of their Anabaptist faith in 1589, moved to Keulen and later to Utrecht in 1611. Crispijn was the father of Simon, Crispijn the Younger and Magdalena van de Passe. Simon van de Passe (c.1595-1647) was the son of the prominent Dutch engraver and publisher Crispijn van de Passe the Elder. His father was the founder of a distinguished publishing house in Cologne, which produced portraits of European nobility, and religious prints amongst others. The family were forced to leave Cologne because of their Anabaptist faith. They moved to Utrecht, and in 1616, Simon settled in London, where he established for himself a successful portrait engraving practice. He contributed portraits to Henry Holland’s “Baziliologia” (1618), and made a number of portraits of the Royal family, noblemen and scholars. In 1624, he moved to Copenhagen as royal engraver to the king of Denmark, a post he held for the rest of his life.

Cosimo Mogalli (ﬂ. 1667-1726) was an Italian engraver, active in Florence.

Augustus Charles Pugin (1762 - 1832) was a topographical draughtsman and etcher. He was the father of the artist and architect Augustus Welby Northmore Pugin.

Christian Friedrich Muller (1776-1821) was a book and print publisher, who also ran several newspapers and periodicals, such as “Das Karlsruher Unterhaltungsblatt” (1828-1841). He was appointed as bookseller to the court at 1815, and after his death in 1821, his widow and later his two sons took over the business.

William Radclyﬀe (1783 - 1855) was a British engraver from Birmingham, who worked mainly in London. He taught numerous pupils and was father of the engravers Edward and William. He was also possibly the brother of Thomas, with whom he appears to have worked as a printer under the name ‘W & T Radclyﬀe’ between c.1817 and 1824.

Aert van Neer or Arnout (c.1603-1677) was a Dutch landscape painter, known for his nocturnal views of rivers, as well as landscapes during winter and snowstorms. His compositions often have an elevated perspective and include narrow paths or scenes in the background. His sons Johannes and Eglon Hendrick van der Neer also became painters.

Sir Joshua Reynolds (1723-1792) was one of the most important figures of the eighteenth century art world. He was the first President of the Royal Academy and Britain’s leading portrait painter. Through a series of lectures on the Discourses on Art at the Royal Academy he defined the style later known as the Grand Manner, an idealised Classical aesthetic. He had a profound impact on the theory and practice of art and helped to raise the status of portrait painting into the realm of fine art. A flamboyant socialite, Reynolds used his social contacts to promote himself and advance his career becoming one of the most prominent portrait painters of the period.

John O’Connor (1830-1889) was a British draughtsman and printmaker, who worked on the Stationers’ Almanack from 1865 to 1884. John Opie (16th May 1761 - 9th April 1807) was a British painter, best known for his portraits. A key contributor to Boydell’s Shakespeare Gallery, Opie was also a talented painter of historical scenes, being compared to Caravaggio and Velazquez. Among his most celebrated portraits are those of many leading members of the British Romantic movement, including fellow painter Henry Fuseli, poet Robert Southey, and the author Mary Shelley.

Samuel William Reynolds (1773-1835) was a British mezzotinter and occasional painter. He taught David Lucas and Samuel Cousins. Jean Claude Richard de Saint-Non (1730-1792) was a French amateur printmaker. He was a theologist working in Paris in a religious function, and later taking up writing,

etching and aquatinting. He met Fragonard during his stay in Rome c.1760, and became his patron. Sir John Ross, CB, (24 June 1777 – 30 August 1856) was a Scottish rear admiral and Arctic explorer. Ross was the son of the Rev. Andrew Ross, minister of Inch, near Stranraer in Scotland. In 1786, aged only nine, he joined the Royal Navy as an apprentice. He served in the Mediterranean until 1789 and then in the English Channel. In 1808, he acted as a captain of the Swedish Navy and in 1812 became a Commander. He went on his first Arctic expedition in 1818, but he did not discover many new things during this voyage, as he and his crew were drawn of course by a mirage of mountains, which Ross named the “Croker Mountains”. He left in May 1829 for a second expedition, this time on the Victory, a side-wheel steam ship. They sailed past Lancaster Sound to a previously unexplored area, where their ship became stuck in the ice. The crew was stranded for four years, during which they explored the regions to the west and north, with the help of local Inuit. On one of these explorations, Ross found the magnetic north pole on the Boothia Peninsula. In 1832, Ross and his crew abandoned their ship and walked to another shipwreck which had been abandoned by a different expedition many years earlier. A year went by before a break in the ice allowed them to leave, on that ship’s longboats. They were eventually picked up by a British vessel and taken home. Ross went on a third and final Arctic voyage in 1850, searching for Sir John Franklin and his expedition party, which had been missing for four years. He failed to find Franklin and his crew, and after returning to England in 1851, he went back to Stranraer in Scotland to retire. He spent these last years of his life writing accounts of his travels and using his Scandinavian language skills to consult on political tensions in the Baltic. Ross died in 1856 while visiting London, where he is buried. George Rowe (1796-1864) was one of the most prolific topographical print makers of his time. Born at Exeter in 1796, and showing his artistic talent from an early age, Rowe earned his living as a drawing master in Hastings. It was there that he produced his first known set of topographical prints, Twenty-six Views of Picturesque Scenery of Hastings and its Vicinity, which were published, as lithographs in 1823. Rowe produced many more views of Sussex and Kent before returning to Exeter in around 1826. At Exeter, he continued his teaching and produced many prints of Devon. In 1832, Rowe, his wife and two young children moved to Cheltenham. Here, Rowe established a Repository of Arts, at which he sold artists’ materials and undertook general printing work. He also began to produce prints of the town, which were initially published by a local librarian, although by 1834 Rowe had acquired his own lithographic printing press and was able to publish his own work. In 1845 he published The Illustrated Cheltenham Guide, which included over two-hundred small vignette views. Rowe also spent about seven years in Australia. On his return to England, probably in 1859, he settled at Exeter and began work on a series of panoramic views of the goldfields and Tasmania that were to win him a gold medal at the 1862 London

International Exhibition. Thomas Rowlandson (1757-1827) was one of the most accomplished and prolific of English professional draughtsmen. Admired for his satirical wit, he excelled as a caricaturist as well as an illustrator of books. Best known for such works as ‘The Microcosm of London’ and ‘The Three Tours of Doctor Syntax’, which he illustrated for Rudolph Ackerman. One of the finest exponents of pen line in the history of British art. Thomas Ryley (fl. 1744-1754) was a British mezzotint engraver operating out of premises in Water Lane, Fleet Street, London. It is possible that he was an apprentice of John Faber II. Ryley worked principally on portraits, including those of Queen Charlotte, Frederick the Third of Prussia, and the Prince and Princess of Wales. Paul Sandby (1731-1809) was a British watercolourist and printmaker. Born in Nottingham, he moved to London in 1745 where he joined his older brother, Thomas Sandby, at the topographical drawing room of the Board of Ordnance, at the Tower of London. He played an important part in the survey of the Scottish Highlands after the Jacobite Rebellion. From the 1750s he was involved in the campaign to found the Royal Academy. In 1768 he was appointed drawing master to the Royal Military Academy at Woolwich. He made a number of satirical etchings, notably against Hogarth in 1753-1754 and the early 1760s. He often collaborated with his brother in providing figures for topographical watercolours. He learned aquatint from Burdett in December 1773. Willem Schellinks (1623-1678) was a Dutch painter and topographical draughtsman from Amsterdam. He travelled and worked in England, Italy, France, Switzerland, Germany and Malta, and often collaborated with other artists. John Raphael Smith (1751 - 1812) was an English painter, printmaker and publisher. After abandoning a career in linen drapery, Smith became one of the leading printmakers of the day. He excelled in mezzotint, and produced numerous plates after portraits by Gainsborough, Reynolds, and Romney. In addition to his reproductive work, he was also a highly successful publisher and seller of prints, and exported a large number of material to France. However, the outbreak of the Napoleonic Wars in 1803 destroyed this market, and Smith announced his retirement from printmaking in order to produce pastel portraits of his own up until his death in 1812. Gerard or Gilbert Soest (c. 1600-1680) was born in Soest, probably the town near Utrecht, but sometimes thought to be Soest in Germany. He probably trained in the Netherlands and worked there before he moved to London in 1644. Soest was a portrait painter, who was very successful, but his realistic style was not appreciated by many of the women he painted who felt their portraits were not flattering enough.

Dirk Stoop (c. 1610-1668) was a painter and printmaker, active in Utrecht. He travelled to Rome, Lisabon, London and Hamburg and worked for Catherine of Braganza, who married King Charles II. He often signed as “DS” or as Roderigo Stoop with “R Stoop”.

by the works of Claude Lorraine and his time in Italy. George Gottfried Winckler (c.1750-80 ﬂ.) was a German engraver working in Augsburg.

David Teniers II (1610-1690) was Flemish painter of genre scenes depicting the daily lives of peasants. He also produced several etched portraits as well as designs for engravings and tapestries, and produced the Theatrum Pictorum, a book with small engravings after paintings in the collection of archduke Leopold William, one of his most important benefactors. He was born in Antwerp to David Teniers the Elder, who taught him the trade. In 1633 he became a master of the St Luke Guild of Antwerp, and in 1637 he married Anna, the daughter of Jan Breugel the Elder. Teniers eventually moved to Brussels in 1651 to work as a court painter. He enjoyed international success and influenced many of the next generation of painters, and even had a hand in the foundation of the Academies of Fine Arts in Brussels and Antwerp. Maerten de Vos (1532-1603) was a Flemish painter and draughtsman. He was a pupil of his father Pieter de Vos and a follower of Frans Floris in Antwerp. Between 1550 and 1558 he travelled in Italy, visiting Rome, Venice and possibly Florence. In 1558 he became a master of the Antwerp Guild of St Luke. Between 1571 and 1572, he was dean of the Guild. From 1575 he mainly produced print designs. He was the father of the artists Daniel (1568-1605) and Maerten the Younger (1576-1613). W. L. Walton (fl. 1834-1855) was a British printmaker. Thomas Watson (1743 - 1781) was a mezzotinter, who died at the young age of 38. His father of the same name was a printseller at 33 Strand, and survived his son. From 17711779 the son was in partnership with Walter Shropshire and he then took over the business in partnership with William Dickinson. In 1786 Strutt stated that the father had his son’s copper plates and sold the greater part of his son’s work through sales in 1784 (Christie’s 29 March and 7 May 1784) and 1792 (25 January, of the copper plates). Charles Williams (active 1796-1830) was a British printmaker. In particular, he was a prolific etcher of satires to his own or others’ designs. Almost all of his plates are unsigned. In later years he worked for different publishers simultaneously, including Fores, E. Walker, members of the Knight family, and Tegg (from 1807). Richard Williamson (fl. 1814) was a British printmaker and publisher, active in London on Brook Street and later Moore Place, collaborating with an unknown family member as “R & E Williamson”. Richard Wilson RA (1 August 1714 – 15 May 1782) was one of the pioneers of British landscape painting. He worked in Italy and Britain, and painted in a classical style influenced

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